There were varying degrees of Romanization throughout Roman Dacia.	达契亚行省各处都有不同程度的罗马化。
The most Romanized segment was the region along the Danube, which was predominately under imperial administration, albeit in a form that was partially barbarized.	最罗马化的区段是多瑙河沿岸区域，这个区域过去主要受帝国统治，虽然有部分是以野蛮的形式来进行。
The population beyond this zone, having lived with the Roman legions before their withdrawal, were substantially Romanized.	超过此区域的人口因为曾在罗马军团撤退之前与军团居住在一起，所以本质上相当罗马化。
The final zone, consisting of the northern portions of Maramures, Crisana, and Moldavia, stood at the edges of Roman Dacia.	最后的区域，包括马拉穆列什、克里沙那和摩达维亚的北边部分，则是罗马达契亚行省的边缘。
Although its people did not have Roman legions stationed among them, they were still nominally under the control of Rome, politically, socially, and economically.	虽然其人民没有罗马军团驻扎在其中，但在政治、社会和经济方面，他们名义上仍受到罗马控制。
These were the areas in which resided the Carpi, often referred to as the Free Dacians.	这些是经常被称为自由达契亚人的卡尔皮人居住过的地区。
In an attempt to fill the cities, cultivate the fields, and mine the ore, a large-scale attempt at colonization took place with colonists coming in "from all over the Roman world".	随着「来自罗马世界各处」的开拓者尝试填补城市、开垦野地和开采矿石，发生了殖民化的大规模攻占。
The colonists were a heterogeneous mix: of the some 3,000 names preserved in inscriptions found by the 1990s, 74% (c. 2,200) were Latin, 14% (c. 420) were Greek, 4% (c. 120) were Illyrian, 2.3% (c. 70) were Celtic, 2% (c. 60) were Thraco-Dacian, and another 2% (c. 60) were Semites from Syria.	开拓者由不同的族裔混合组成：在 1990 年代找到的铭文所保存约 3,000 个名字中，有 74% (约 2,200 个) 是拉丁人，14% (约 420 个) 是希腊人，4% (约 120 个) 是伊利里亚人，2.3% (约 70 个) 是凯尔特人，2% (约 60 个) 是瑟雷斯达契亚人，还有其他 2% (约 60 个) 是来自叙利亚的闪米特人。
Regardless of their place of origin, the settlers and colonists were a physical manifestation of Roman civilisation and imperial culture, bringing with them the most effective Romanizing mechanism: the use of Latin as the new lingua franca.	无论移民者和开拓者的原居地为何，他们都是罗马文明及帝国文化的具体展现，因为他们带来了最有效的罗马化机制：使用拉丁文作为新的通用语。
The first settlement at Sarmizegethusa was made up of Roman citizens who had retired from the legions.	萨尔米泽杰图萨的第一批移民是由军团退休的罗马公民组成。
Based upon the location of names scattered throughout the province, it has been argued that, although places of origin are hardly ever noted in epigraphs, a large percentage of colonists originated from Noricum and western Pannonia.	有人认为，根据散布在该省各处的名称所在地点，虽然碑文中几乎未曾注记过原居地，还是有很大比例的开拓者是源自诺里库姆和西潘诺尼亚。
Specialist miners (the Pirusti tribesmen) were brought in from Dalmatia.	专业矿工 (皮鲁斯蒂部落成员) 从达尔马提亚引进。
These Dalmatian miners were kept in sheltered communities (Vicus Pirustarum) and were under the jurisdiction of their own tribal leadership (with individual leaders referred to as princeps).	这些达尔马提亚矿工被看守在庇护社区 (维库斯皮鲁斯塔鲁姆) 并由他们自己的部落领导管辖 (个别领导者称为第一公民)。
An estimated 50,000 troops were stationed in Dacia at its height.	在巅峰时期，估计有 50,000 支部队驻扎在达契亚。
At the close of Trajan's first campaign in Dacia in 102, he stationed one legion at Sarmizegetusa Regia.	102 年，图拉真在达契亚的第一场战役结束时，将一支军团驻扎在萨尔米泽杰图萨雷吉亚。
With the conclusion of Trajan's conquest of Dacia, he stationed at least two legions in the new province – the Legio IV Flavia Felix positioned at Berzobis, and the Legio XIII Gemina stationed at Apulum.	图拉真对达契亚的征战结束后，在新的省驻扎了至少两支军团──幸运者弗拉维乌斯第四军团驻扎在贝尔索比斯，而第十三双子军团驻扎在阿普鲁姆。
It has been conjectured that there was a third legion stationed in Dacia at the same time, the Legio I Adiutrix.	据推测，同时还有第三支军团驻扎在达契亚，也就是第一辅助军团。
However, there is no evidence to indicate when or where it was stationed, and it is unclear whether the legion was fully present, or whether it was only the vexillationes who were stationed in the province.	但是没有证据显示它在何时或何处驻扎，因此无法确定该军团是否充分存在，或者它是否仅为驻扎在该省的支队。
Hadrian, the subsequent emperor, shifted the fourth legion (Legio IV Flavia Felix) from Berzobis to Singidunum in Moesia Superior, suggesting that Hadrian believed the presence of one legion in Dacia would be sufficient to ensure the security of the province.	继任的皇帝哈德良将第四军团 (幸运者弗拉维乌斯第四军团) 从贝尔索比斯调到上默西亚的辛吉杜努姆，这显示哈德良认为达契亚有一个军团就足以确保该省的安全。
The Marcomannic Wars that erupted north of the Danube forced Marcus Aurelius to reverse this policy, permanently transferring the Legio V Macedonica from Troesmis (modern Iglița in Romania) in Moesia Inferior to Potaissa in Dacia.	在多瑙河北部爆发的马科曼尼战争迫使马可·奥理略逆转了此政策；他将第五马其顿军团从下默西亚的特洛埃斯米斯 (现今在罗马尼亚的伊斯特拉) 永久调动至达契亚的波塔萨。
The Kingston Fossil Plant is located on a peninsula at the junction of the Emory River (to the north) and Clinch River (to the south and east), just over 4 miles (6.4 km) upstream from the latter's mouth along the Tennessee River.	金斯顿化石燃料发电厂位于埃默里河 (以北) 和克林奇河 (以南和以东) 汇合处的半岛上，就在后者的河口上游 4 英哩 (6.4 公里) 处田纳西河岸上。
Watts Bar Dam, located along the Tennessee 38 miles (61 km) downstream from the mouth of the Clinch, impounds a reservoir (Watts Bar Lake) that spans a 72-mile (116 km) stretch of the Tennessee (to Fort Loudoun Dam), the lower 23 miles (37 km) of the Clinch (to Melton Hill Dam), and the lower 12 miles (19 km) of the Emory.	瓦兹巴尔水坝位于克林奇河河口下游 38 英哩 (61 公里) 的田纳西河沿岸，所围起的贮水区 (瓦兹巴尔湖) 横跨田纳西河 (往劳登堡水坝) 72 英哩 (116 公里) 河段、克林奇河 (往梅尔顿丘水坝) 下方 23 英哩 (37 公里)，以及埃默里河下方 12 英哩 (19 公里)。
The plant, originally known as the Kingston Steam Plant, began operations in 1954, primarily to provide electricity to atomic energy installations at nearby Oak Ridge.	这间发电厂原本称为金斯顿蒸气发电厂，在 1954 年开始营运，主要为附近橡树岭的核子动力设备提供电力。
The plant contains nine units with a combined generating capacity of 1,398 megawatts, and burns about 14,000 tonnes (14,000,000 kg) of coal every day.	发电厂包含九个机组，总发电量 1,398 百万瓦特，且每天燃烧约 14,000 公吨 (14,000,000 公斤) 的煤。
The plant's ash pond disposal area is located immediately north of the plant along the Emory River shore.	发电厂的灰塘处置区就位在发电厂北边的埃默里河河岸上。
The ash pond, which was impounded by a dike that rose 60 feet (18 m) above the winter level and 741 feet (226 m) above sea level, contained a watery slurry of fly ash generated by the burning of finely ground coal at the power plant.	灰塘以冬季水位以上 60 英呎 (18 公尺)、海平面以上 741 英呎 (226 公尺) 的堤防围起，含有发电厂燃烧精细研磨的煤所产生的飞灰泥浆。
Fly ash is the fine particulate pollutants produced by the combustion of coal, which are collected rather than allowing them to escape into the atmosphere, then mixed with water and pumped into a retaining pond, where the ash gradually settles to the bottom.	飞灰是燃煤所产生的精细粒状污染物，不能让它逸出到大气中，而是必须收集起来，然后与水混合并灌注到滞留池中，让灰烬在池内逐渐沉淀到底部。
Once the particulate matter settles out, it is dredged and moved to drying cells.	一旦粒状物沉淀出来，就会将它挖出并移至干燥槽。
The 84-acre (0.34 km²) unlined above-ground dredge cell was surrounded by 60-foot (18 m) tall earthen dikes.	这个 84 英亩 (0.34 平方公里) 无衬砌的地上疏浚槽是用 60 英呎 (18 公尺) 高的土制堤防围住。
The dike breach occurred at the northwest corner of the dewatering pond, overlooking the Swan Pond Creek spillway.	堤坝决口发生在脱水槽的西北角，就在天鹅池溪溢洪道的上方。
TVA had reportedly known about the dangers of using wet storage ponds for coal ash since a 1969 spill in Virginia in which coal ash seeped into the Clinch River and killed countless fish.	据报导，TVA 自 1969 年维吉尼亚州外泄事件后就了解到使用湿式煤灰储存槽的危险性；当时在维吉尼亚州，煤灰渗进克林奇河并杀死了无数的鱼只。
In the 1980s, TVA engineers raised concerns about the stability of ash ponds.	1980 年代，TVA 工程师曾提出有关灰塘稳定性的疑虑。
The utility repeatedly found leaks in levees and seepage in the soil at many of their ash ponds, including the ones at Kingston.	这间公用事业公司屡次在其多个灰塘发现堤防裂缝和土壤渗流，包括在金斯顿的灰塘。
However, TVA continued to make small repairs instead of switch to dry storage systems which would have cost ratepayers tens of millions.	但是，TVA 仍继续进行小型维修，而不是改用可能会花费地方纳税人数千万元的干式储存系统。
At the time of the disaster, TVA was using wet storage at six of their 11 coal-fired power plants.	发生灾害的当下，TVA 正在其 11 座燃煤发电厂中的六座使用湿式储存。
Leaks at the Kingston ash ponds had reportedly been taking place since the early 1980s, and local residents said that the spill was not a unique occurrence.	据报导，金斯顿灰塘的裂缝从 1980 年代初期就一直在发生，当地居民也表示渗漏并非单一事件。
The 1960s-era pond had been observed leaking and being repaired nearly every year since 2001.	自 2001 年起，几乎每年都有人发现这座 1960 年代的池塘发生渗漏和进行维修。
The two worst leaks occurred in 2003 and 2006 in which TVA suspended all ash deposits in the ponds to allow the dredge cells to dry out and stabilize.	两次最严重的渗漏发生在 2003 年和 2006 年，当时 TVA 暂停池塘中的所有灰渣沉积，以便疏浚槽干燥并稳定下来。
An October 2008 inspection report had identified a "minor leak" in the faulty wall, but the report was not finalized.	2008 年 10 月的一项检查报告在问题墙面发现一个「小型渗漏」，但该报告并未获得最终确认。
The spill began sometime between midnight and 1 a.m.	渗漏是在午夜到上午 1 点之间的某个时候开始。
In January 1973 Young was made Chief of the Space Shuttle Branch of the Astronaut Office.	1973 年 1 月，杨恩获任太空人办公室太空梭分部主任。
In January 1974, he became Chief of the Astronaut Office after the retirement of Alan Shepard.	1974 年 1 月，他在艾伦·雪帕德退休之后成为太空人办公室主任。
Young flew two missions of the Space Shuttle, both aboard the Space Shuttle Columbia.	杨恩飞行过两个太空梭任务，两者都是在哥伦比亚号太空梭上。
He commanded the program's 1981 maiden orbital flight, STS-1, and in 1983 commanded STS-9, which carried the first Spacelab module.	他曾指挥该计画的 1981 年初次轨道飞行 (STS-1)，并在 1983 年指挥 STS-9，运送了第一间太空实验室模组。
In 1986 he was in line to make a record seventh space flight on STS-61-J to deploy the Hubble Space Telescope, but the Space Shuttle Challenger disaster earlier that year had delayed NASA's schedule.	1986 年，他有相当大的机会能够在 STS-61-J 创下第七次太空飞行以部署哈伯太空望远镜的纪录，但是该年年初的挑战者号太空梭灾难延误了 NASA 的行程。
Young was openly critical of NASA management following the Challenger disaster, and in April 1987 was made Special Assistant to JSC Director Aaron Cohen for Engineering, Operations and Safety.	杨恩在挑战者灾难之后公开批评 NASA 的管理部门，并在 1987 年 4 月获任 JSC 主任亚伦·科恩在工程、营运及安全的特别助理。
NASA denied that his criticism triggered the move, although Young and industry insiders believed that was the reason for the reassignment.	NASA 否认他的批评引发此举，虽然杨恩和业界内部人士认为那就是重新派任的原因。
In February 1996, he was assigned as Associate Director (Technical) JSC.	1996 年 2 月，他获指派为 JSC 副主任 (技术)。
During his NASA career, Young logged more than 15,000 hours of training, mostly in simulators, to prepare for positions on eleven spaceflights in prime and backup crew positions.	在杨恩的 NASA 职业生涯期间，他记录了超过 15,000 小时的训练，大部分是在模拟机内，目的是为十一场太空飞行的首选和后备职位做好准备。
Young worked for NASA for 42 years and announced his retirement on December 7, 2004.	杨恩在 NASA 工作了 42 年，并在 2004 年 12 月 7 日宣布退休。
He retired on December 31, 2004, at the age of 74, but continued to attend the Monday Morning Meeting at the Astronaut Office at JSC for several years thereafter.	他在 2004 年 12 月 31 日时退休，当时 74 岁，但之后数年仍继续参加 JSC 太空人办公室的周一晨会。
He logged more than 15,275 hours flying time in props, jets, helicopters, and rocket jets; more than 9,200 hours in T-38s; and 835 hours in spacecraft during six space flights.	他在辅具、喷射机、直升机和火箭喷射器记录了超过 15,275 小时的飞行时间；在 T-38 有超过 9,200 小时；而在六次太空飞行期间的太空船内有 835 小时。
On April 12, 2006, Young appeared at the 25th anniversary of the STS-1 launch at the Kennedy Space Center Visitor Complex, along with pilot Robert Crippen.	2006 年 4 月 12 日，杨恩在甘迺迪太空中心参观园区的 STS-1 发射 25 周年纪念与驾驶员罗伯特·克里彭一起现身。
The two spoke of their experiences during the flight.	他们两位都谈到飞行期间的体验。
In 2012, Young published an autobiography, Forever Young.	2012 年，杨恩出版了自传《永远的杨恩》。
Young married Barbara White of Savannah, Georgia, and they had two children, Sandra and John.	杨恩与来自乔治亚州萨凡纳的芭芭拉·怀特结婚，育有两名子女，珊卓拉和约翰。
They were divorced in 1972 after 16 years of marriage.	他们在结婚 16 年之后于 1972 年离婚。
He later married Susy Feldman, and lived in El Lago, Texas, a suburb of Houston.	他之后与苏西·费尔德曼结婚，并居住在德州休士顿的郊区艾尔拉哥
Young died on January 5, 2018, at his home in Houston of complications from pneumonia.	杨恩于 2018 年 1 月 5 日因肺炎并发症逝世于他在休士顿的家中。
He was 87.	享年 87 岁。
Abbotsford Bridge is a steel Allan truss bridge that is about 240 m (790 ft) in length.	艾柏兹弗德桥是钢制艾伦式桁架桥，长度约 240 公尺 (790 英呎)。
The bridge also contains a single lift span about 20 m (66 ft) in length, which is still in working order.	这座桥也含有长度约 20 公尺 (66 英呎) 的单一升降节间，而且至今仍正常运作。
It is two lanes wide through most of its length, but the lift span is only capable of carrying a single lane.	它的全长大部分为两车道宽，但是升降节间只能载运单一车道。
The entire bridge has been marked with a single lane and has traffic lights on both ends to control vehicular flow.	整座桥都标示为单一车道，而且两端都有交通号志来控制车流。
The bridge was completed in 1928 by the NSW Department of Public Works and, although opened as a traffic bridge, it was designed to carry the loads required for a railway, once the Mildura railway line had been extended over the bridge.	这座桥由 NSW 公共工程部门在 1928 年完工，而且虽然开放作为交通桥，它原本的设计是在米尔杜拉铁路线延伸至桥上之后，作为铁路所需的负重乘载。
The line was never extended beyond Yelta, where the terminus remains to this day.	该路线从未延伸超过耶尔塔，也就是至今的终点站。
The location of the bridge was thought to be convenient, as it provided a link to the Sturt Highway without travelling farther upstream to Mildura.	这座桥的地点被认为相当便利，因为它提供与斯图特公路的连结，不需向上行经更远到米尔杜拉。
It is the only remaining steel truss bridge with a lift span on the Murray, although other lifting bridges still exist along the river.	虽然墨瑞河沿岸仍有其他升降桥，但它是河上唯一仅存具备升降节间的桁架桥。
The bridge was built after the decline in commercial river traffic on the Murray.	这座桥是在墨瑞河的商运河运量下降之后建造的。
Due to its significance to the local area, it has been listed on the NSW State Heritage Register.	因为它对当地区域具有重要性，已名列在 NSW 州遗产登记上。
The nearby town of Wentworth was an important river port from which wool was shipped to the coast, and as such there was a variety of traffic in the area.	附近的温特沃斯市镇是重要的河港，羊毛是从该河港运送到海岸，也因此该区域有许多种类的交通。
In the 1890s, irrigated farming greatly expanded in Sunraysia region which is known for its fruit production, and traffic volumes increased further.	在 1890 年代，灌溉农作在以其水果生产闻名的桑瑞西亚地区大幅扩展，交通量也进一步提高。
It was decided to install a punt at this location (then known as Abbot's Ford).	人们决定在此地点 (之后称为艾伯兹弗德) 安装平底船。
New South Wales and Victoria had signed an agreement towards constructing bridges for railways over the Murray to serve the settlements on the northern side.	新南威尔斯和维多利亚签署了一项协议，为墨瑞河上的铁路建造桥墩以服务北边的聚落。
In 1923, a report was released that recommended going ahead with the building of four bridges, one of those being the future Abbotsford Bridge.	1923 年发表了一项报告建议继续建造四座桥，其中一座就是日后的亚伯兹弗德桥。
It was said a bridge in this area would benefit Curlwaa, Wentworth, and a proposed irrigation scheme to the north.	据说此区域的桥会使库尔瓦、温特沃斯和北边规划的灌溉方案受益。
The cost was estimated at £78,000.	成本估计为 78,000 英镑。
It had been considered that it might be appropriate to combine these four bridges with locks, but this idea was rejected due to siting concerns.	有人认为以水闸将这四座桥结合在一起可能是适当的，但是此构想因为选址问题而遭到否决。
In 1924, residents of nearby settlements urged construction of the railway line to the proposed bridge site, but they were told this extension of the line was to be delayed.	1924 年，附近聚落的居民极力主张建造通往提案桥址的铁路线，但是被告知此路线的延伸有所延误。
Within that year it was decided that a bridge was to be constructed due to increased traffic volume, and tenders were let for manufacture of the bridge spans, construction of abutments and piles, and transport of materials to the future construction site.	在那一年内，因为交通量的增加而决定建造一座桥，并针对桥跨的制造、桥座和桩的建造，以及对日后建造地点的物料运送等发包投标。
Achebe expanded this criticism when he presented a Chancellor's Lecture at Amherst on 18 February 1975, 'An Image of Africa: Racism in Conrad's "Heart of Darkness"'.	阿切贝在 1975 年 2 月 18 日于阿姆赫斯特进行「非洲印象：康拉德《黑暗之心》中的种族歧视」校长座谈时详述了这个评论。
Decrying Joseph Conrad as "a bloody racist", Achebe asserted that Conrad's famous novel dehumanises Africans, rendering Africa as "a metaphysical battlefield devoid of all recognisable humanity, into which the wandering European enters at his peril."	阿切贝谴责约瑟夫·康拉德是「该死的种族主义者」，且声称康拉德的知名小说使非洲人失去人性，将非洲描绘成「全然没有任何可辨识之人性的抽象战场」，而四处游荡的欧洲人自冒风险进入其中。
Achebe also discussed a quotation from Albert Schweitzer, a 1952 Nobel Peace Prize laureate: "That extraordinary missionary, Albert Schweitzer, who sacrificed brilliant careers in music and theology in Europe for a life of service to Africans in much the same area as Conrad writes about, epitomizes the ambivalence.	阿切贝也讨论了来自 1952 年诺贝尔和平奖得主阿尔伯特·史怀哲的一段引言：「那位非凡的传教士阿尔伯特·史怀哲，牺牲了在欧洲的音乐和神学等出色的事业，在几乎与康拉德所写的相同地区为非洲人奉献一生，正体现了这种矛盾心态。
In a comment which has often been quoted Schweitzer says: 'The African is indeed my brother but my junior brother.' And so he proceeded to build a hospital appropriate to the needs of junior brothers with standards of hygiene reminiscent of medical practice in the days before the germ theory of disease came into being." Some were surprised that Achebe would challenge a man honoured in the West for his "reverence for life".	史怀哲在一段经常被引用的评论中说：『非洲人确实是我的兄弟，不过是我的学弟。 』于是他运用疾病的细菌理论诞生前之医疗作法的怀旧卫生标准，开始建造适合学弟需求的医院。 」对于阿切贝挑战一位因为「敬畏生命」在西方国家备受崇敬的男人，有些人感到相当惊讶。
The lecture caused a storm of controversy, even at the reception immediately following his talk.	这段演说引发激烈的争议，甚至在他谈话之后的接待会也是。
Many English professors in attendance were upset by his remarks; one elderly professor reportedly approached him, said: "How dare you!", and stormed away.	许多出席的英国教授对他的注解感到不满；据报导，一位年长的教授走近他说：「你好大的胆子！」，然后怒气冲冲地离开。
Another suggested that Achebe had "no sense of humour", but several days later Achebe was approached by a third professor, who told him: "I now realize that I had never really read Heart of Darkness although I have taught it for years." Although the lecture angered many of his colleagues, he was nevertheless presented later in 1975 with an honorary doctorate from the University of Stirling and the Lotus Prize for Afro-Asian Writers.	另一人指称阿切贝「没有幽默感」，但是几天后第三位教授联系阿切贝，并告诉他：「我现在才发现我从未真正读过《黑暗之心》，虽然我已经教了好多年。」虽然这场演说激怒了多位同仁，他之后仍在 1975 年获颁斯特灵大学的荣誉博士以及亚非作家的荷花文学奖。
The first comprehensive rebuttal of Achebe's critique was published in 1983 by British critic Cedric Watts.	针对阿切贝的评论所提出的首次全面反驳在 1983 年由英国评论家塞德里克·沃茨发表。
His essay "A Bloody Racist: About Achebe's View of Conrad" defends Heart of Darkness as an anti-imperialist novel, suggesting that "part of its greatness lies in the power of its criticisms of racial prejudice." Palestinian–American theorist Edward Said agreed in his book Culture and Imperialism that Conrad criticised imperialism, but added: "As a creature of his time, Conrad could not grant the natives their freedom, despite his severe critique of the imperialism that enslaved them".	他的论文《该死的种族主义者：关于阿切贝对康拉德的观点》以反帝国主义小说来捍卫《黑暗之心》，指出「其部分伟大之处在于它对种族偏见批评的力量。」巴勒斯坦裔美籍理论家爱德华·萨依德在他的《文化与帝国主义》一书中同意康拉德对帝国主义有所批评，但是补充说：「身为他所在时代的产物，尽管康拉德对奴役原住民的帝国主义有所严厉批评，也无法赋予他们自由」。
Building on Watts and Said, Nidesh Lawtoo argued that "underneath the first layer of straightforward opposition ... we find an underlying mimetic continuity between Conrad's colonial image of Africa [in Heart of Darkness] and Achebe's postcolonial representation" in Things Fall Apart.	继沃茨和萨伊德之后，尼德许·劳图主张，在《生命中不可承受之重》当中，「在第一层直接了当的反对意见之下……我们发现康拉德 [在《黑暗之心》中] 的非洲殖民印象与阿切贝的后殖民表述之间，有隐含在其中的模仿连贯性。
Achebe's criticism has become a mainstream perspective on Conrad's work.	阿切贝的批评已成为对于康拉德作品的主流观点。
The essay was included in the 1988 Norton critical edition of Conrad's novel.	这篇论文被收入 1988 年康拉德小说的诺顿评论版中。
Editor Robert Kimbrough called it one of "the three most important events in Heart of Darkness criticism since the second edition of his book ..." Critic Nicolas Tredell divides Conrad criticism "into two epochal phases: before and after Achebe." Asked frequently about his essay, Achebe once explained that he never meant for the work to be abandoned: "It's not in my nature to talk about banning books.	主笔罗伯·金布罗将它称为「自他的书籍第二版之后在《黑暗之心》评论方面最重要的三个事件之一……」评论家尼古拉斯·特雷德尔将康拉德评论划分成「两个划时代阶段：阿切贝之前和之后。」因为经常被问及有关他的论文，阿切贝曾经说明他从未意图让该作品遭到弃用：「我的本质并非讨论禁止书籍。
I am saying, read it – with the kind of understanding and with the knowledge I talk about.	我的意思是，好好阅读它──运用理解的本质和我提到的知识。
And read it beside African works." Interviewed on National Public Radio with Robert Siegel, in October 2009, Achebe remains consistent, although tempering this criticism in a discussion entitled "'Heart of Darkness' is inappropriate": "Conrad was a seductive writer.	并且以与非洲作品相比的方式来阅读。 」在全国公共广播电台与罗伯特·西格尔访谈后，在 2009 年 10 月，阿切贝仍坚持己见，但是在一场名为「《黑暗之心》并不得当」的讨论中将淡化了批评：「康拉德是引人注意的作家。
He could pull his reader into the fray.	他能够将读者引进纷争。
And if it were not for what he said about me and my people, I would probably be thinking only of that seduction."	而且如果不是因为他对我和我的人民所做的评论，我可能只会想到那种诱因。 」
When he returned to the University of Nigeria in 1976, he hoped to accomplish three goals: finish the novel he had been writing, renew the native publication of Okike, and further his study of Igbo culture.	1976 年返回奈及利亚大学时，他希望达成三个目标：完成他正在写的小说、重做《奥基凯》的原生版，以及继续深造他对伊博文化的研究。
He also showed that he would not restrict his criticism to European targets.	他也表明，他不会只将批评限制在欧洲的目标上。
In an August 1976 interview, he lashed out at the archetypal Nigerian intellectual, who is divorced from the intellect "but for two things: status and stomach.	在 1976 年 8 月的一场访谈中，他大力批评与知识界脱钩的原型奈及利亚知识分子「不就是为了两件事：地位和肚子。
On August 3, 2011, contestants Ricky Jaime and Sasha Mallory danced to "Schoolin Life" in Top 6 Perform round of the eighth season of the American television reality program and dance competition So You Think You Can Dance.	2011 年 8 月 3 日，参赛者瑞奇·杰米和萨夏·马洛里在美国电视实境节目和舞蹈竞赛《舞林争霸》第八季的前 6 强表演回合中跳了《学校生活》。
Their dance performance was choreographed by Kumari Suraj.	他们的舞蹈表演是由库马里·苏拉杰所编排。
Gwen Orel of The Wall Street Journal further described their performance during a review of that episode of the show: "He's in a fedora, and she's got a cute short swingy sheer skirt, with thigh high stockings and a garter belt, and a sheer purple blouse.	华尔街日报的葛温·奥瑞尔在节目的该集评论中进一步形容了他们的表演：「他戴着绅士帽，她则是穿着一件可爱的摇摆透明短裙，搭配高度到大腿的长筒袜及吊袜带，以及透明的紫色短上衣。
I don’t get what this style really is, it seems to have a lot of arm movements, and some crouching jumps.	我不懂这个风格到底是什么，它似乎有大量的手臂动作和一些蹲跳。
He doesn’t look quite sharp enough next to her.	他在她旁边看起来不够显眼。
His split leap is phenomenal."	他的分腿跳非常杰出。 」
The base slab, or pylon, of the tomb monument rests on a 38-centimetre (15 in) high plinth, separated by a cornice and concave mouldings.	纪念墓的底板 (或称为塔门) 坐落在 38 公分 (15 英吋) 的高基座上，由飞檐和凹面饰材分隔。
The pylon is 1.39 metres (4.56 ft) high and 2.02 metres (6.63 ft) wide, decorated with a frieze of winged angel heads (perhaps seraphim) and garlands and ribbons.	门塔为 1.39 公尺 (4.56 英呎) 高和 2.02 公尺 (6.63 英呎) 宽，以带翅膀的天使头部 (可能是炽天使) 饰带、花环和缎带装饰。
Above the pylon, separated by the cornice, are the three Virtues—from left to right, Faith, Charity, and Hope—in shell niches, separated by four Corinthian fluted pilasters.	在门塔上方，由飞檐所分隔的是贝壳壁龛内的三个德天使，由左至右为「信」、「望」和「爱」，以科林斯柱式波形壁柱区隔。
Such a motif is unprecedented in Tuscan funerary sculpture but found at this date in Venice, Padua, and especially Cossa's native Naples.	这种装饰图案在托斯坎丧葬雕塑中前所未见，但当时在威尼斯、帕多瓦以及特别是科萨的出生地拿坡里都有发现。
As a result, excursions to Venice have been suggested for both Michelozzo and Donatello.	因此，米开罗佐和多那太罗两人获建议到威尼斯进行短程旅行。
However, Janson suggests that one "need not go all the way to Venice" to find such motifs.	但是，简森建议「不需要大老远前往威尼斯」寻找这类装饰图案。
Outside Florence, Virtues were common on tombs, with the cardinal Virtues used for laymen, and the theological virtues reserved for ecclesiastics, including the Brancaccio tomb.	在佛罗伦斯之外，德天使在坟墓上相当常见 (平信徒使用枢德)，三超德则是保留为传教士使用，包括布兰卡奇枢机墓。
However, the Cossa Virtues, from their hair to their sandals, are more thoroughly antique.	但是，科萨德天使从头发到凉鞋是更彻底的古希腊和古罗马风格。
Donatello also produced two similar bronze Virtues for the Siena Baptistry, whose chronological relationship to the Cossa Virtues is unclear.	多那太罗也为锡耶纳洗礼堂制作了两座类似的铜制德天使，它们与科萨德天使的时序关系不得而知。
The 1.05-metre (3.44 ft) tall Faith, to the right of Charity, is holding a Eucharistic chalice; the 1.07-metre (3.51 ft) tall Charity is holding a cornucopia and a brazier (or flaming vase); and the 1.06-metre (3.48 ft) tall Hope, to the left of Charity, has hands clasped in prayer.	在「爱」右边 1.05 公尺 (3.44 英呎) 高的「信」拿着圣体圣杯；1.07 公尺 (3.51 英呎) 高的「爱」拿着丰裕之角和火盆 (或火瓶)；而在「爱」左边 1.06 公尺 (3.48 英呎) 高的「望」则是双手合十。
The central figure of Charity is the most antique, assimilating elements of Classical depictions of Abundantia, Ceres, and Juno, all of which were depicted with cornucopias in their left hands.	中间的人物「爱」最具古希腊和古罗马艺术风格，吸收了阿布恩丹提亚、瑟雷斯和朱诺的经典描绘元素，而且上述所有的描绘都是左手拿着丰裕之角。
Besides underscoring the antiquity of the tomb monument, the main purpose of the tall yet poorly finished Virtues is to put additional vertical distance between the viewer and the effigy, which has the cumulative effect of de-emphasizing the peculiarities of Cossa, in favor of a generic pontiff (i.e. a potential line of Florentine popes), by blunting the "immediacy" of the trope of lying in state, which was otherwise dominant on Quattrocento wall tombs.	除了强调纪念墓的古希腊和古罗马艺术风格以外，这座高耸但润饰不足的德天使，主要是为了在观赏者和雕像之间增添额外的垂直距离，透过减弱死者平躺状态象征的「既视感」(这在文艺复兴壁墓中是主流)，对于淡化科萨的奇特性、对总主教的支持 (亦即潜在的佛罗伦斯教宗路线) 有加成效果。
On top of the sarcophagus, the bier of the effigy is supported by lions whose shape mimics Trecento consoles.	在石棺上方，雕像的棺架是由外型模仿十四世纪螺形支架的狮子所支撑。
The lions may be based on the Florentine Marzocco, as if to mark John XXIII in the same manner as a conquered city-state.	这些狮子可能是以佛罗伦斯纹章狮子为基准样式，仿佛以相同方式将若望二十三世标记为征服的城邦。
As Donatello's Marzocco for the papal apartment in Santa Maria Novella conveyed Florence's ambivalence towards Martin V (as both a source of prestige by visiting, and a potential adversary of the Republic), the lions supporting the bier contextualize the tomb monument's support for John XXIII's claim to the papacy by cementing it as a Florentine claim.	由于对圣塔玛莉亚诺维拉的教皇公寓而言，多那太罗的纹章狮子传达出佛罗伦斯对玛尔定五世的矛盾心态 (因为两者都是派驻的声望来源，也是共和国的潜在敌手)，支撑棺架的狮子透过巩固佛罗伦斯主张的方式，将纪念墓支持若望二十三世教皇地位的主张化为情境。
Yet, any iconographical interpretation of the lions must be taken with a grain of salt as lions are symbolically promiscuous, and are also seen as supports on earlier tombs, such as that of Lapo de' Bardi (d. 1342) in the Bargello.	但是，任何对狮子的图像志解译都不得尽信，因为狮子有杂交的象征，也在早期的坟墓中被视为支撑物，例如巴杰罗美术馆中拉波·德·巴尔迪 (1342 年逝世) 的坟墓。
The bier and the pall spread over it are tilted towards the viewer with the lion supporting the head standing 2-centimetre (1 in) shorter, increasing the visibility of the effigy, especially the head.	棺架和摊开在其上的墓布向观赏者的方向倾斜，且支撑头部的狮子高度短了 2 公分 (1 英吋)，使得雕像更为显眼，尤其是头部。
The gilded-bronze, life-size effigy itself makes no attempt to argue for Cossa's papal status, dressing Cossa clearly in the costume of a cardinal; the bedding it rests on is of un-gilt bronze.	本身是拟金青铜且真人大小的雕像明确地穿上枢机主教的服装，显然主张着科萨的教皇地位；它所长眠的床垫是以非拟金青铜制成。
The opening in the 16th century of the sarcophagus confirmed that Cossa's actual burial clothes matched the effigy.	16 世纪时，石棺的开启确认了科萨实际的寿衣与雕像相符。
There was no precedent for a three-dimensional gilded-bronze effigy on an Italian tomb monument; there was, however, a 6-foot (1.83 m) gilt bronze statue on the balcony of the Palazzo della Briada in Bologna commissioned by Pope Boniface VIII.	义大利纪念墓上先前未出现过立体的镀铜雕像；不过，有一个由教宗波尼法爵八世委托在波隆那的比亚达宫露台制作的 6 英呎 (1.83 公尺) 镀金铜制雕像。
Chief Wiggum pulls Troy McClure over for dangerous driving.	维古姆警官以危险驾驶为由请特洛伊·麦克卢尔停靠到路边。
Not wishing to be required to wear his glasses while driving, Troy goes to the DMV to get his license changed to remove the requirement.	因为不希望开车时必须戴着眼镜，特洛伊前往监理所更换驾照以删除此要求。
He offers to take DMV employee Selma Bouvier to dinner if she lets him pass the eye test, to which she agrees.	他提议，如果监理所员工塞尔玛·布维尔让他通过视力检测，就请她吃晚餐，而她同意了。
After dinner, photographers notice Troy leaving with Selma and the story hits the news.	晚餐后，摄影师们注意到特洛伊与塞尔玛一起离开，而该报导也跃上新闻版面。
The next day, Troy's agent, MacArthur Parker, calls and says that he can get work again if he continues seeing Selma.	隔天，特洛伊的经纪人麦克阿瑟·帕克来电表示，如果他继续和塞尔玛见面，就可以再次获得工作。
Troy continues to date her and his career begins to recover.	特洛伊继续和她约会，他的事业也开始恢复原状。
On his agent's advice, Troy asks Selma to marry him; she agrees.	在经纪人的建议下，特洛伊向塞尔玛求婚；她同意了。
The night before the wedding, a drunk Troy tells Homer the reason for his marriage: he doesn't really love Selma, and he just plans to use her as a sham wife to help further his career.	婚礼的前一晚，喝醉酒的特洛伊对荷马诉说他结婚的原因：他并非真的爱塞尔玛，他只是打算利用她虚假的妻子身分让事业更上一层楼。
Although Homer fails to act, Marge and Patty try to explain it to Selma, who accuses them of just being envious.	虽然荷马并未采取行动，不过美枝和帕蒂试着向塞尔玛解释，而塞尔玛指责她们只是嫉妒。
She confronts Troy, who shamelessly admits that their marriage is a sham but explains she has everything she could want and will be "the envy of every other sham wife in town".	她向特洛伊对质，他厚着脸皮承认他们的婚姻是个幌子，但是解释说，她什么都能够如愿以偿，而且将成为「镇上所有其他虚假妻子忌妒的对象」。
Selma has doubts, but accepts the situation because she fears being alone.	塞尔玛有所怀疑，但是因为害怕独处而接受了这个情况。
Parker thinks he can get Troy the part of McBain's sidekick in McBain IV: Fatal Discharge, but concludes he will have a better chance if he has a family.	帕克认为他可以让特洛伊在《麦克贝恩 4：致命排放》中担任麦克贝恩的搭档，但是断定如果他成家会更有机会。
Troy and Selma try to conceive a child, but neither feels comfortable with their situation, and Selma finally leaves after deciding that bringing a child into a loveless family is wrong.	特洛伊和塞尔玛试着怀孕，但是两者都对所处的情况感到不自在，而塞尔玛在决定让孩子进到没有爱的家是错误的之后，最后还是离开了。
During the first half of the end credits, news confirmed that Troy turns down the role of McBain's sidekick to direct and star in his own film, The Contrabulous Fabtraption of Professor Horatio Hufnagel.	在片尾字幕的前半段，有新闻确认了特洛伊拒绝麦克贝恩搭档的角色，在自己的电影《何瑞修·赫夫纳格教授的超棒发明》中自导自演。
Show runners Bill Oakley and Josh Weinstein were fans of actor Phil Hartman, who had been a recurring guest star since the second season.	节目统筹比尔·奥克利和乔许·威恩斯坦是演员菲尔·哈特曼的粉丝；菲尔·哈特曼曾在第二季之后固定客串。
They decided to produce an episode entirely about his character Troy McClure to give Hartman as much to do as possible.	他们决定制作一段完全围绕在其角色特洛伊·麦克卢尔的影集，让哈特曼尽情发挥。
Oakley wanted to explore Troy's character because he had never interacted with the show's other characters before, only appearing on television.	奥克利想要探索特洛伊的角色，因为他之前从未与这个节目的其他角色互动过，只在电视上出现。
The writers chose the plot idea of Troy's marriage to Selma Bouvier because she was "always marrying people".	编剧选择了特洛伊与塞尔玛·布维尔的婚姻情节构想，因为她「一直和人结婚」。
The episode's first draft was written by freelance writer Jack Barth, although the rest of the writing staff rewrote it.	这一集的第一部草稿是由自由作家杰克·巴尔思编写，但其他编剧工作人员将它改写了。
One aspect of the rewrite was the song "Dr. Zaius" from the Planet of the Apes musical, which the staff consider to be one of the greatest musical numbers ever written for The Simpsons.	改写的其中一个层面是来自《浩劫余生》音乐剧的歌曲「佐斯博士」，工作人员认为这首歌是为《辛普森家庭》所写最棒的演奏歌曲之一。
Clair was created for The Cosby Show by series creator, comedian Bill Cosby.	克莱儿是影集创作者 (喜剧影星比尔·寇司比) 为《天才老爹》所创造出来。
Cosby originally pitched a series about a detective who solves crime using his wit and humor; Clair's earliest incarnation resembled his character's girlfriend, who is depicted as "a strong woman with her own career." Networks were not interested in developing the series, so Cosby opted for a somewhat more autobiographical approach instead.	寇司比原本的提案是有关一位警探运用机智和幽默解决刑案的系列影集；克莱儿的早期化身与该角色的女朋友相似，她被描写成「拥有自己事业的女强人」。电视网对开发此影集没有兴趣，因此寇司比改为选择较为自传式的方法。
Cosby eventually based The Cosby Show on his stand-up comedy film Bill Cosby: Himself (1983), which heavily features jokes about his relationship with his wife and their interactions with their children.	寇司比最后根据他的单口喜剧电影《比尔·寇司比：他本人》(1983) 改编成《天才老爹》，该电影大量采用有关他与妻子的关系以及他们与孩子的互动等笑话。
Clair is based on Cosby's real-life wife Camille.	克莱儿是根据寇司比现实生活的妻子卡蜜儿所改编。
Although the role of the parents in the show evolved dramatically from The Cosby Show's initial inception to final production, the one idea that was retained from Cosby's detective series was the concept of a strong career woman.	虽然节目中的双亲角色从《天才老爹》最初到最终制作有大幅的改变，但是从寇司比警探系列影集中保留的唯一构想是女强人的概念。
When Cosby originally pitched The Cosby Show to NBC, it revolved around the life of a blue-collar couple; Clair was intended to be a plumber while the character's husband Cliff, portrayed by Cosby himself, was a limousine driver.	寇司比原本向 NBC 提案《天才老爹》时，是以一对蓝领夫妻的生活为主题；克莱儿原本是水管工，该角色的丈夫克里夫 (由寇司比本人所饰演) 则是礼车司机。
Eventually, the idea of Clair working as a plumber was discarded and the character briefly became a Dominican housewife instead.	最后，克莱儿是水管工的构想遭到舍弃，且该角色短暂地换成多明尼加籍家庭主妇。
Inspired by Ricky Ricardo from the sitcom I Love Lucy, of whom Cosby was a fan, much of the show's humor would have been directly derived from Clair's tendency to revert to her native language Spanish when upset or agitated.	寇司比受到情境喜剧《我爱露西》中的瑞奇·里卡多激发灵感 (他是该剧的粉丝)，因此该影集的大多数幽默感是直接来自克莱儿生气或焦虑时变回母语西班牙文的倾向。
Describing this concept as "the reverse of [I Love] Lucy," Cosby explained that the husband "would be the person that didn’t understand when she spoke Spanish" as opposed to the wife.	寇司比将这个概念形容成「[我爱] 露西的相反」，他解释，这位丈夫「会是听不懂西班牙文的人」，而不是妻子。
Camille and executive producers Marcy Carsey and Tom Werner eventually convinced Cosby that the series should feature a family that resembled their own more closely, specifically one headed by a pair of successful parents with white-collar professions.	卡蜜儿和执行制作人马西·卡斯及汤姆·沃纳最终说服寇司比，该影集的特色应该是与他们自己更相似的家庭；具体而言，就是由一对拥有白领职业的成功双亲所带领的家庭。
Thus, Cosby relented and re-wrote Clair and Cliff into a lawyer and doctor, respectively.	因此，寇司比态度软化，并将克莱儿与克里夫分别改写成律师及医师。
The idea of Clair being Dominican was abandoned before the pilot was filmed.	克莱儿是多明尼加人的构想在录制试播集之前遭到舍弃。
However, the character still speaks some Spanish in the first episode and continues to speak the language periodically throughout the series, albeit not as frequently as Cosby had originally intended.	但是，该角色在第一集仍然会说一点西班牙语，且在整个系列影集中仍然会不时说该语言，虽然不像寇司比一原本想要的那样频繁。
Cosby borrowed several names from his real-life family for his fictional one; Clair's maiden name is Hanks, which she shares with Camille.	寇司比在他的虚构家庭中借用了他真实生活中的多个家人名字；克莱儿的娘家姓是汉克斯，与卡蜜儿相同。
The second season explores each character gaining more responsibility, none more-so than Clair, who is deliberately provided with more storylines to experience and new emotions to express in terms of her relationship with her husband and children.	第二季是探索各个角色获得更多责任，尤其是克莱儿，她被刻意赋予了更多可体验的故事情节，在与丈夫和孩子间的关系方面也有了新的情绪来表达。
Clair is portrayed by American actress Phylicia Rashad.	克莱儿是由美国女星菲莉西亚·拉沙德所饰演。
In addition to appearing in minor roles on both television and Broadway, Rashad had a recurring role as Courtney Wright on the soap opera One Life to Live before Cosby personally selected her to play his character's wife.	在寇司比亲自选定拉沙德饰演他所演角色的妻子之前，她除了在电视和百老汇演出小角色以外，也在肥皂剧《仅此一生》中扮演常设角色寇特妮·怀特。
Several actresses auditioned for the role, the majority of whom tended to resort to angrily yelling and moving their heads in a manner similar to that of a bobblehead doll when scolding the child actors playing the character's children during their auditions.	多位女星参加了这个角色的征选；征选期间，大部分女星在责骂饰演该角色子女的儿童演员时，倾向于愤怒地大吼以及用类似摇头人偶的方式摇动头部。
However, Rashad's subtle interpretation was different from those of her competitors; when the actress screen tested opposite actor Malcolm Jamal-Warner, who would ultimately go on to portray son Theo, Rashad simply paused, stared and silently gave him "a look" instead of immediately scolding the character that, according to Cosby, meant "four or five things ... and none of them were good." At the end of Rashad's audition, Cosby announced "[Rashad is] Clair" to Carsey.	但是，拉沙德微妙的诠释与竞争者不同；这位女星与最终与之后扮演儿子席奥的演员马尔科姆-贾马尔·华纳进行对手戏试镜时，拉沙德仅是停顿下来、瞪大眼睛且无声地给他「一种眼神」，而不是立即责骂该角色；寇司比表示，那有「四或五种涵义……而且没一个是好事。」拉沙德试镜结束时，寇司比就向卡斯宣布「[拉沙德是] 克莱儿」。
Additionally, because Clair was still intended to be of Dominican heritage at the time, Rashad's own bilingualism and fluency in Spanish benefited her successful casting.	此外，因为当时仍然想让克莱儿带有多明尼加传统，所以拉沙德本身精通双语且西班牙语流利使她有利地成功演出。
Most of what is now NY 171 was improved to state highway standards as part of a project contracted out by the state of New York on July 12, 1916.	在 1916 年 7 月 12 日纽约州承包出去的专案中，现今为 NY 171 的大部分已依照州级公路标准进行提升。
The work covered the 5.10 miles (8.21 km) of the route outside of the Frankfort village limits.	工程涵盖了法兰克福特村边界以外的 5.10 英哩 (8.21 公里) 路线。
The reconstruction was completed in the 1920s, and the Frankfort Gorge road was added to the state highway system as unsigned State Highway 1346 (SH 1346) by 1926.	重建工作在 1920 年代完成，而法兰克福特峡谷路到 1926 年才以无符号州级公路 1346 (SH 1346) 加入州级公路系统。
In the 1930 renumbering of state highways in New York, SH 1346 became part of NY 171, which continued northeast to Main Street in Frankfort on several state and locally maintained streets.	在 1930 年为纽约的州级公路重新编号时，SH 1346 变成 NY 171 的一部分，并在行经多个州级和由当地维护的街道后，继续往东北方延伸到法兰克福特的主街。
At the time, Main Street was part of NY 5S, another route assigned as part of the renumbering.	当时主街属于 NY 5S，也就是在重新编号时分配的另一个路线。
In the late 1960s, a limited-access highway was constructed between Utica and Ilion alongside NY 5S. The new highway became part of a rerouted NY 5S in the early 1970s.	1960 年代后期，在由提卡和伊利翁之间沿着 NY 5S 建了一条禁止进入的公路。这条新的公路在 1970 年代初期变成改道后 NY 5S 的一部分。
As a result, NY 171, which does not interchange with the highway, no longer connects to any other signed state routes.	因此，未与这条公路交会的 NY 171 就不再连通到任何其他有标志的州级路线。
NY 171 is the only signed state highway in New York that is completely isolated from the remainder of the state highway system.	NY 171 是纽约州唯一完全未连接州级公路系统中其他公路的有标志州级公路。
In 1992, Sony submitted plans that required approval by the New York City Planning Commission, in which it would take some of the open space in the building's atrium that had been used to obtain approval for additional floors on top of the building, and convert those areas into retail space.	1992 年，索尼提交了需要纽约城市规划委员会核准的计画，其中会占用该大楼中庭的部分开放空间；该中庭当时已用来取得大楼顶楼额外楼层的核准，并将这些区域改成零售空间。
In exchange, the company would expand the glass-enclosed pedestrian walkway with the addition of planters and public seating.	作为交换条件，该公司会以增加植栽和公共座位等方式来扩充玻璃围篱的行人步道。
Sony expected that the proposed conversion of the 8,727 sq ft (810.8 m²) of public space could be converted into stores that could be leased at rates that The New York Times estimated could approach $200 per square foot.	索尼预期，所提案的 8,727 平方英呎 (810.8 平方公尺) 公共空间转换，能够转换成可供租赁的商店，且《纽约时报》估计租金可能将近每平方英呎 200 美元。
The company noted that the space was underutilized as a public amenity because it was "dark, windy and noisy" and that its conversion to commercial space would provide "retail continuity" with the remainder of Madison Avenue.	该公司注意到这个空间作为公共设施并未获得充分利用，因为它「昏暗、风大且吵杂」，而且将它转换成商业空间将提供与麦迪逊大道其他部分的「零售业连贯性」。
By 1996, Sony had consolidated most of the operations for its Sony Music Entertainment division at 550 Madison Avenue, for which The New York Times noted that "such high-profile and elaborate space is appropriate and necessary." That same year, Sony acquired additional space across the street at 555 Madison Avenue, a 445,000 sq ft (41,300 m²) building built in the 1960s that underwent renovations of its lobby, windows, bathrooms and other common spaces in conjunction with Sony's lease.	到了 1996 年，索尼已将旗下的索尼音乐娱乐部门大部分营运整合到麦迪逊大道 550 号，《纽约时报》对此指出，「如此高调且精致的空间既适当且必要。」同一年，索尼取得对街麦迪逊大道 555 号的额外空间；这是一栋建造于 1960 年代的 445,000 平方英呎 (41,300 平方公尺) 大楼，并随着索尼的租约进行其大厅、窗户、浴室和其他公共空间的翻新。
Sony signed leases through 2013 on an additional 90,000 sq ft (8,400 m²) on the sixth through ninth floors of the building, on top of an initial rental of 90,000 sq ft (8,400 m²) of space on the second through fifth floors of the building that it had made in 1995.	继 1995 年一开始租用该大楼二到五楼 90,000 平方英呎 (8,400 平方公尺) 的空间之后，索尼又在该大楼六到九楼的额外 90,000 平方英呎 (8,400 平方公尺) 签订为期至 2013 年的租约。
Rents on the floors had averaged about $34 per square foot at the time.	当时这些楼层的租金平均约为每平方英呎 34 美元。
Sony connected the two buildings using fiber optic cables that were run under Madison Avenue and installed microwave communications equipment on the top of the 555 building.	索尼使用穿越麦迪逊大道下方的光纤缆线连接这两栋大楼，并在 555 号大楼楼顶安装了微波通讯设备。
Sony made these moves, which included early termination of leases on space in the surrounding area at 711 Fifth Avenue on the 43rd floor at 9 West 57th Street, as part of an effort to lower occupancy costs by bringing its businesses closer together.	索尼为了尽可能紧密集中业务来降低占用成本而进行这些动作，包括提前终止西 57 街 9 号 43 楼 (第五大道 711 号) 周边区域空间的租约。
A cash-strapped AT&T sold the building to Sony in 2002 for $236 million, or $315 per square foot.	资金短缺的 AT&T 在 2002 年将该大楼以 2 亿 3600 万美元出售给索尼，也就是每平方英呎 315 美元。
The building incorporated the Sony Wonder Technology Lab, a multimedia hands-on tour through the world of media, located in a four-story annex accessible through a glass-roofed atrium that connects 55th and 56th Streets in mid-block.	这栋大楼并入了以多媒体实作导览媒体世界的索尼奇幻科技实验室 (位于四层楼附属建筑物内)，可透过连接街区中段第 55 和 56 街的玻璃屋顶中庭进入。
It was open on Tuesdays through Saturdays, and Sony described the free exhibits as a "technology and entertainment museum for all ages".	它在星期二到星期六间开放，而且索尼将免费的展览形容为「适合全年龄的科技和娱乐博物馆」。
During 2008, the museum's third and fourth floors underwent renovations that were completed in fall 2008.	2008 年间，该博物馆的三楼和四楼进行了翻新，于 2008 年秋天完工。
Sony Wonder replaced Infoquest Center, a permanent telecommunications exhibition that had been built by AT&T.	索尼奇幻世界取代了 AT&T 先前设立的常设电子通讯展览馆 Infoquest 中心。
Sony permanently closed the lab on January 29, 2016.	索尼在 2016 年 1 月 29 日永久关闭了该实验室。
On February 27, 2010, an accumulation of ice from the February 25–27, 2010 North American blizzard broke loose from an upper floor, breaking the glass ceiling of the atrium and injuring at least 15 inside who were attending a Purim celebration.	2010 年 2 月 27 日，在 2 月 25 到 27 日的 2010 北美暴风雪期间累积的冰层从上方楼层破裂掉落，击破了中庭的玻璃天花板，并造成至少 15 位正在其中参加普珥节庆祝活动的人受伤。
In December 2012, bidding started on the building and in January 2013 Sony announced plans to sell the building to the Chetrit Group for $1.1 billion – $685 million more than it had paid for it.	2012 年 12 月开始有人对该大楼竞标，而在 2013 年 1 月，索尼宣布以 11 亿美元将该大楼出售给切特里特集团的计画，比索尼当初支付的金额多了 6 亿 8500 万美元。
Sony leased back its offices there through 2016, when it moved its headquarters south to 11 Madison Avenue.	索尼将其位于该处的办公室租回，一直到 2016 年将总部南移至麦迪逊大道 11 号为止。
The Chetrit Group planned to redevelop the building as a combination of condominiums and a hotel.	切特里特集团规划将该大楼重建成公寓和旅馆的组合。
Chetrit abandoned this plan and sold the building to Olayan and Chelsfield in 2016, relinquishing the "Sony Tower" name.	切特里特在 2016 年放弃了此计画，并以让与「索尼大厦」名称的方式，将该大楼出售给奥拉扬和切斯特菲尔德。
McNicoll relinquished command of HMAS Australia in July 1954 before the cruiser was paid off and marked for disposal the following month, and he briefly returned to duties at the Navy Office.	麦克尼科在 1954 年 7 月舰艇遭到清偿并标记为废弃的前一个月交出了澳洲皇家海军的指挥权，并短暂地回到海军部担任职务。
In November, he embarked for London to attend the Imperial Defence College as part of the 1955 course intake, which signified that he had been marked for senior command. McNicoll and his wife, Ruth, had separated in 1950 and their divorce, which cited adultery as the cause, was finalised in October 1956, while the former was still in London.	11 月，他因为加入 1955 年课程而出发前往伦敦就读帝国国防大学；这表示他当时已具备资深指挥官的身分。麦克尼科及妻子茹丝在 1950 年分居，并在 1956 年 10 月以通奸为由确定离婚，当时前者仍在伦敦。
On 17 May the following year, McNicoll wed Frances Mary Chadwick, a journalist, in the Hampstead register office.	隔年的 5 月 17 日，麦克尼科在汉普斯特德结婚登记处与新闻工作者法兰西丝·玛莉·查德威克法兰西丝结为连理。
Made acting rear admiral in January 1957, McNicoll was appointed as Head of the Australian Joint Service Staff in London.	麦克尼科在 1957 年 1 月成为代理少将后，在伦敦获任澳洲联合参谋长。
He returned to Australia in February 1958 and was selected to serve as Deputy Secretary (Military) at the Department of Defence; McNicoll's rank was made substantive in July that year.	他在 1958 年 2 月返回澳洲，并获任国防部 (军队) 副部长；麦克尼科的军阶在该年的 7 月成为终身头衔。
On 8 January 1960, McNicoll was posted to the Naval Board in Canberra as Second Naval Member and Chief of Personnel.	1960 年 1 月 8 日，麦克尼科被分发到坎培拉的海军局担任副海军司令官暨人事局长。
As noted by historian Ian Pfennigwerth, McNicoll held this position at a time in which recruitment and retention in the Navy particularly lagged behind targets.	如历史学家伊恩·芬尼格维斯所记载，麦克尼科担任此职位的时期是海军征才及留任特别不及目标的时期。
McNicoll was additionally appointed as a trustee of the RAN Relief Trust Fund during this period.	麦克尼科在这段期间又另获任澳洲皇家海军救济信托基金的受托管理人。
Completing his term on the Naval Board, McNicoll was posted as Flag Officer Commanding HM Australian Fleet on 8 January 1962 and hoisted his standard aboard HMAS Melbourne, the flagship of the RAN.	麦克尼科完成海军局的任期后，在 1962 年 1 月 8 日获派任为澳洲皇家舰队海军司令部总司令官，并在澳洲皇家海军的主舰 (墨尔本号航空母舰) 上升起他的军旗。
The Australian government had designated the role of the RAN to be primarily one of anti-submarine warfare, a posture which McNicoll thought unwise.	澳洲政府将澳洲皇家海军指定为反潜作战的首要角色，但麦克尼科认为此举并不明智。
McNicoll argued that surface and air weapons posed a threat equal to that of submarines toward vessels in modern naval warfare.	麦克尼科主张，在现代海军作战中，地面及空中武器对船舰构成的威胁与潜艇构成的威胁相等。
As such, he campaigned for a contemporary aircraft carrier to replace that of HMAS Melbourne.	因此，他争取以当代航空母舰来取代墨尔本号航空母舰。
The Army and Air Force opposed McNicoll's stance, and the government ultimately concluded that there was no strategic requirement for a new carrier in light of agreements contained in the Southeast Asia Treaty Organization.	陆军与空军都反对麦克尼科的立场，而政府最终裁定，依照东南亚公约组织中包含的协议，策略上并无新的航空母舰需求。
In any event, McNicoll experienced a particularly demanding tenure as Fleet Commander since the RAN was in the process of a complete overhaul of its order of battle and, as a consequence, he had to manage the introduction and deployment into service of six Ton-class minesweepers acquired from the Royal Navy, along with the first batch of Westland Wessex helicopters and modernised afloat support capabilities.	无论如何，麦克尼科担任舰队指挥官时都经历了特别严苛的任期，因为当时澳洲皇家海军正在对其战斗序列进行全面检修，因此他必须着手推动和部署向皇家海军取得的六吨级扫雷艇，以及第一批威塞克斯式直升机和新式海上运补能力等的服役工作。
Furthermore, McNicoll was charged with the responsibility of ensuring Australian naval commitments to the Far East Strategic Reserve were met.	此外，麦克尼科还必须负责确保澳洲海军实现对远东战略预备队的承诺。
McNicoll's two-year term as Fleet Commander concluded on 6 January 1964, at which point he returned to the Naval Board as Fourth Naval Member and Chief of Supply.	麦克尼科的舰队指挥官两年任期于 1964 年 1 月 6 日结束，当时便返回海军局担任第四海军成员兼补给长。
However, this post proved short-lived with his appointment as Flag Officer-in-Charge East Australia Area, headquartered at the land base HMAS Kuttabul in Sydney, from June that year.	但是，这个职位不过是昙花一现，因为他从该年的 6 月就获任东澳区舰队司令官，总部设在雪梨的澳洲皇家海军舰艇库塔布尔的地面基地。
In the 1965 New Year Honours, McNicoll was appointed a Companion of the Order of the Bath.	在 1965 年的新年授勋中，麦克尼科获颁巴斯同袍勋章。
On 24 February 1965, McNicoll was promoted vice admiral and made Chief of Naval Staff (CNS) in succession to Vice Admiral Sir Hastings Harrington.	1965 年 2 月 24 日，麦克尼科晋升为副上将，并接替副上将赫斯廷斯·哈灵顿爵士的海军参谋 (CNS) 一职。
By virtue of this position, McNicoll was head of the Naval Board and the functional commander of the RAN. McNicoll's term as CNS was characterised by a period of heightened activity for the RAN in light of the Australian commitments to the Indonesia–Malaysia Konfrontasi and the Vietnam War.	因为这个职位，麦克尼科成为海军局局长以及澳洲皇家海军的职掌指挥官。麦克尼科的 CNS 任期特点在于，由于澳洲对印尼-马来西亚对抗及越战有所承诺，因此澳洲皇家海军在该时期提高了军事活动。
The first movement is longer and more complex than any that Mozart had previously composed in the concerto genre.	第一乐章比莫札特先前在协奏曲类别中作过的任何曲子更慢且更复杂。
It is in ; among Mozart's 27 piano concertos, No. 4 in G Major, No.	它使用了 G 大调第 4 号、
11 in F major and No. 14 in E♭ major are the only others to commence in triple metre.	F 大调 11 号，和 E♭ 大调第 14 号，是莫札特 27 部唯一以三拍子开始的钢琴协奏曲之一。
The first movement follows the standard outline of a sonata form concerto movement of the Classical period.	第一乐章遵循了古典音乐时期奏鸣曲式协奏曲乐章的标准轮廓。
It begins with an orchestral exposition, which is followed by a solo exposition, a development section, a recapitulation, a cadenza and a coda.	它以管弦乐呈示部为开头，之后是独奏呈示部、发展部、再现部、装饰乐段和尾奏。
Within this conventional outline, Mozart engages in extensive structural innovation.	在这个传统的轮廓内，莫札特投入了密集的结构创新。
The development begins with the piano repeating its entry to the solo exposition, this time in the relative major of E♭.	发展部以钢琴重复进入独奏呈示部的方式开头，但这次是以相对的 E♭ 大调。
The Concerto No. 20 is the only other of Mozart's concertos in which the solo exposition and the development commence with the same material.	在莫札特的协奏曲中，第 20 号协奏曲是唯一另一个在独奏呈示部和发展部使用相同素材开始的协奏曲。
In the Concerto No. 24, the material unfolds in the development in a manner different from the solo exposition: the opening solo motif, with its half cadence, is repeated four times, with one intervention from the woodwinds, as if asking question after question.	在第 24 号钢琴协奏曲中，发展部的素材以不同于独奏呈示部的方式展开：开场的独奏动机及其装饰乐段重复四次，并插入一次木管乐器，仿佛一再询问问题一样。
The final question is asked in C minor and is answered by a descending scale from the piano that leads to an orchestral statement, in F minor, of the movement's principal theme.	最后一个问题是以 C 小调提问，并以钢琴的下行音阶回答，以 F 小调进入乐章主题的管弦乐陈述。
The orchestral theme is then developed: the motif of the theme's fourth and fifth measures descends through the circle of fifths, accompanied by an elaborate piano figuration.	接着发展出管弦乐主题：主题第四和第五小节的动机透过五度圈下行，并伴随着精心安排的钢琴音型法。
After this, the development proceeds to a stormy exchange between the piano and the orchestra, which the twentieth-century Mozart scholar Cuthbert Girdlestone describes as "one of the few [occasions] in Mozart where passion seems really unchained", and which Tovey describes as a passage of "fine, severe massiveness".	在此之后，发展部开展成钢琴和管弦乐之间的激烈交错；二十世纪的莫札特学者卡斯伯特·吉德尔史东将此形容为「少数在其中似乎真正释放出热情 [时刻] 的莫札特作品之一」，托维则是将其形容为一段「精美、凛冽的沉重感」。
The exchange resolves to a passage in which the piano plays a treble line of sixteenth notes, over which the winds add echoes of the main theme.	这段交换消退成钢琴以十六分音符的高音谱线演奏，其上则有管乐加上主题的回声。
This transitional passage ultimately modulates to the home key of C minor, bringing about the start of the recapitulation with the conventional re-statement, by the orchestra, of the movement's principal theme.	这个转调的段落最终变调为 C 小调的主调，透过乐章的主要主题──管弦乐，以传统的回归段带进再现部的开头。
The wide range of thematic material presented in the orchestral and solo expositions poses a challenge for the recapitulation.	管弦和独奏呈示部中呈现的广泛主题素材，为再现部带来了挑战。
Mozart manages to recapitulate all of the themes in the home key of C minor.	莫札特得心应手地以 C 小调主调再现所有主题。
The themes are necessarily compressed, are presented in a different order, and in their restated form, contain few virtuosic moments for the soloist.	这些主题必须有所压缩、以不同顺序呈现，而且在其回归再现形式中，含有独奏者少有的巧夺天工瞬间。
The last theme to be recapitulated is the secondary theme of the orchestral exposition, which has not been heard for some 400 measures and is now adorned by a passage of triplets from the piano.	再现的最后一个主题是管弦乐呈示部的副主题；这个副主题已有约 400 小节未出现，现在则是透过钢琴三连音的段落来装饰。
The recapitulation concludes with the piano playing arpeggiated sixteenths before a cadential trill leads into a ritornello.	再现部的结尾是钢琴演奏十六分音符琶音，之后则是以一个终止颤音进入结尾段。
The ritornello in turn leads into a fermata that prompts the soloist's cadenza.	结尾段接着进入延长音，以提示独奏者的终止式。
"All of Creation" was nominated for two awards at the 42nd GMA Dove Awards: "Song of the Year" and "Pop/Contemporary Recorded Song of the Year".	《All of Creation》获得第 42 届 GMA 金鸽奖两项提名：「年度最佳歌曲」和「年度最佳流行/当代歌曲」。
It was also nominated for "Christian Song of the Year" at the 2011 Billboard Music Awards.	它也在 2011 年告示牌音乐奖中获得「年度基督教歌曲」提名。
"The Ones" was written by co-executive producer Jack Burditt, and directed by Beth McCarthy, a long-time television director who worked with series creator Tina Fey on the sketch comedy show Saturday Night Live.	《The Ones》由共同执行制作人杰克·布迪特编剧，并由曾与剧集创作者蒂娜·费在喜剧小品节目周六夜现场合作的资深导播贝丝·麦卡锡执导。
This was Burditt's tenth writing credit, and was McCarthy's sixth directed episode.	这是布迪特的第十部编剧创作，而且是麦卡锡第六部执导的影集。
"The Ones" originally aired on NBC in the United States on April 23, 2009.	《The Ones》最初在 2009 年 4 月 23 日于美国的 NBC 播出。
At the beginning of the episode, Jack and Liz are at a jewelry store, as Jack is searching for an engagement ring for Elisa.	影集的开头时，杰克和莉兹在珠宝店，因为杰克正在寻找给爱莉莎的订婚戒指。
They shot that scene in a Cartier store in New York's Fifth Avenue, which was filmed on February 22, 2009. A scene featuring Sue LaRoche-Van der Hout (Sue Galloway) as the Grim Reaper, in which Jenna is led to believe Kenneth has gone into shock because of the strawberries, was cut from the airing.	他们在纽约第五大道的卡地亚商店拍摄该场景，在 2009 年 2 月 22 日拍摄。一场由苏·拉罗切·范德豪特 (苏·加洛维) 扮演死神，且其中珍娜被引导认为肯尼斯是因为草莓而进入休克状态的场景，并没有播出。
According to Jane Krakowski, in the DVD commentary for this episode, there were alternate scenes with Jenna letting Kenneth know about the tampering she did to Kenneth's items, his chickpea, water bottle, and harmonica.	根据珍·考克斯基在此影集的 DVD 讲评中所述，替代的场景是珍娜让肯尼斯知道她对肯尼斯的物品搞鬼，也就是他的鹰嘴豆、水瓶和口琴。
"The Ones" was actress Salma Hayek's final guest appearance on 30 Rock.	《The Ones》是女演员莎玛·海耶克在超级制作人的最后一次客串演出。
Her first appearance on the show was in the episode "Señor Macho Solo", as a nurse for Jack's mother and love interest for him.	她在节目中的首次演出是在《Señor Macho Solo》一集，扮演杰克母亲的护士而且对他有爱慕之情。
She next guest-starred in the episodes "Flu Shot", "Generalissimo", "St.	她之后客串演出了《流感疫苗》、《大元帅》、
Valentine's Day", and "Larry King".	《情人节》和《赖瑞·金》等集。
News anchor Brian Williams, of NBC Nightly News, guest-starred as himself in this episode.	NBC 夜间新闻主播布莱恩·威廉斯在此影集中客串演出自己。
In a scene with Tracy and Jack at a club, Tracy reveals to Jack that he has been giving out his phone number to different women, though it is not his real number, which results in Williams receiving the calls.	在崔西和杰克位于俱乐部的一个场景中，崔西向杰克透露，他一直把电话号码提供给不同的女人，但是那并非他真正的号码，因此导致威廉斯接到电话。
Kenneth revealing that his real name is "Dick Whitman" is a reference to the main character Don Draper of Mad Men (played by Jon Hamm, who had a recurring role on 30 Rock earlier in the season).	肯尼斯透露他的真实姓名是「迪克·惠特曼」，是影射《广告狂人》的主角唐·德雷柏 (由乔·汉姆扮演，他在超级制作人当季早期担任常设角色)。
"Earn this", spoken by Kenneth as Jenna has poisoned him again, references the 1998 film Saving Private Ryan when actor Tom Hanks says the same words to actor Matt Damon's title character.	肯尼斯在珍娜再度对他下毒时说的「好好活下去」，是影射 1998 年电影《抢救雷恩大兵》，当时演员汤姆·汉克斯对演员麦特·戴蒙扮演的主角说了同样的话。
When she is told that Kenneth has gone into a severe allergic shock and needs to have his hands cut off, Jenna apologizes to him for what she has done, telling him "I'm just a girl sitting in front of a boy she poisoned so this other guy would go to town on her", which Jenna misquotes from actress Julia Roberts' character from the romantic comedy Notting Hill (1999).	她得知肯尼斯进入严重过敏休克且必须将双手切除时，珍娜因为所做的事而向他道歉，并告诉他「我只是个女孩，坐在一位她下毒的男孩面前，好让另外一个家伙尽情享用她」，这是珍娜错误引用了浪漫喜剧《新娘百分百》(1999) 中女演员茱莉亚·罗勃兹的话。
After Kenneth drinks his strawberry water, as he risked his life so that Jenna can meet the paramedic again, Jenna says to Kenneth "You magnificent sonofabitch!", a line quoted by actor George C. Scott in the American biographical war film Patton (1970).	肯尼斯喝下他的草莓水后，因为他冒生命危险让珍娜能够再次见到急救人员，洁娜向肯尼斯说「你真是超棒的王八蛋！」，这是引用演员乔治 C·史考特在美国传记电影《巴顿将军》(1970) 中的台词。
Kenneth blows white smoke out while referencing bringing back something from "the other side" (death) echoes the same look when actor Haley Joel Osment remarked "I see dead people" in the movie The Sixth Sense (1999).	肯尼斯提到从「另外一边」(死亡) 取回某个物品时吐出白烟，是模仿演员海利·乔·奥斯蒙在电影《灵异第六感》(1999) 中说出「我看得见死人」时的相同模样。
The final three clips in the montage of Tracy taking off his shirt are real clips from Tracy Morgan interviews.	崔西脱掉上衣的剪辑中最后的三个片段是来自崔西·摩根访谈的真实片段。
Also, Elisa wears a "What the Frak?!" Battlestar Galactica t-shirt, as she admits her secret to Jack and Liz. "It's not product placement—I just like it!", says Liz to Jack, after he storms into her office and she is wearing a Slanket, a sleeved blanket with sleeves usually made of fleece material.	此外，艾莉莎向杰克和莉兹坦承秘密时，穿着一件「What the Frak?!」《星际大争霸》T 恤。杰克冲进莉兹的办公室之后，她对他说「它不是替代产品，我只是很喜欢它！」，而且她穿着袖毯，是一种带袖子的毛毯，且袖子通常以羊毛材质制成。
In its original American broadcast, "The Ones" was watched by 6.3 million households, according to the Nielsen ratings system.	根据尼尔森收视率系统，《The Ones》最初在美国的播出有 630 万户收看。
Caesium is a relatively rare element, estimated to average 3 parts per million in the Earth's crust.	铯是一种相对稀有的元素，预估在地壳中平均为百万分之 3。
It is the 45th most abundant element and the 36th among the metals.	它是第 45 种最丰富的元素，在金属中则是第 36 名。
Nevertheless, it is more abundant than such elements as antimony, cadmium, tin, and tungsten, and two orders of magnitude more abundant than mercury and silver; it is 3.3% as abundant as rubidium, with which it is closely associated, chemically.	然而，它比锑、镉、锡和钨等元素丰度更高，而且比汞和银的丰度多了两个量级；它的丰度和铷一样是 3.3%，而且与它在化学上密切相关。
Due to its large ionic radius, caesium is one of the "incompatible elements".	铯的离子半径很大，因此是「不相容元素」的其中一种。
During magma crystallization, caesium is concentrated in the liquid phase and crystallizes last.	在岩浆结晶期间，铯会浓缩成液相，并在最后结晶。
Therefore, the largest deposits of caesium are zone pegmatite ore bodies formed by this enrichment process.	因此，铯的最大矿床是这种富集过程中形成的晶带伟晶岩矿体。
Because caesium does not substitute for potassium as readily as rubidium does, the alkali evaporite minerals sylvite (KCl) and carnallite (KMgCl	因为铯无法像铷一样容易取代钾，碱蒸发岩矿钾盐 (KCl) 和光卤石 (KMgCl
₃·6H	₃·6H
₂O) may contain only 0.002% caesium.	₂O) 可能只含有 0.002% 的铯。
Consequently, caesium is found in few minerals.	因此，很少矿物质中会发现铯。
Percentage amounts of caesium may be found in beryl (Be	有一部分的铯可能存在于绿柱石 (Be
₃Al	₃Al
₂(SiO	₂(SiO
₃)	₃)
₆) and avogadrite ((K,Cs)BF	₆) 和氟硼钾石 ((K,Cs)BF
₄), up to 15 wt% Cs₂O in the closely related mineral pezzottaite (Cs(Be₂Li)Al₂Si₆O₁₈), up to 8.4 wt% Cs₂O in the rare mineral londonite ((Cs,K)Al	₄)，在密切相关的铯柱石 (Cs(Be₂Li)Al₂Si₆O₁₈) 中高达 15 wt% Cs₂O ，高达 8.4 wt% Cs₂O 在稀土矿物硼铍铝钾石 ((Cs,K)Al
₄Be	₄Be
₄(B,Be)	₄(B,Be)
₁₂O	₁₂O
₂₈), and less in the more widespread rhodizite.	₂₈)，而在较为普遍的硼铍铝铯石中较少。
A major theme in this story is that of a symbiotic relationship between a planet and its inhabitants, similar to that in The Word for World Is Forest.	此故事的主要题材是星球和其居民之间的共生关系，与《世界的词语是森林》中的共生关系类似。
In her introduction to the story, Le Guin stated "We all have forests in our minds.	在勒瑰恩的故事引言中，她表示「我们的心中都有森林。
Forests unexplored, unending.	未经探索，无止尽的森林。
Each of us gets lost in the forests, every night, alone." The "vegetable love" referred to in the poem from which the title is taken can be used to describe the final relationship between Osden and the planetary intelligence of World 4470.	我们每个人每晚都会独自迷失在森林中。 」在诗名取自其中的诗集中，所提到的「植物般的爱情」可以用来形容世界 4470 中奥斯登和星球智慧之间的最终关系。
When Osden is attacked by Porlock in the planet, he transmits his fear to the planet, which amplifies it and reflects it back at him.	奥斯登在星球上受到波拉克攻击时，他将恐惧传送给星球，而星球将它放大并反射回来给他。
Thus Osden's role is similar to that of Selver in The Word for World is Forest, in that he introduces violence to the forest world.	因此奥斯登的角色类似于《世界的词语是森林》中的塞尔沃尔，他在其中将暴力引进森林世界。
The intelligence of Le Guin's forest has been contrasted to the "low" position occupied by vegetative beings in the works of other science fiction authors such as Arthur C. Clarke.	勒瑰恩的森林智慧与亚瑟·C·克拉克等其他科幻作者作品中由植物占据的「低等」位置成为对比。
An additional similarity between The Word for World Is Forest and "Vaster than Empires" is the theme of first contact between humans and a new environment.	另一个在世界的词语是森林和「比帝国辽阔」之间的相似处，是人类和新环境首次接触的题材。
In "Vaster than Empires," the forest is both the setting for the story and a character in it.	在「比帝国辽阔」中，森林同时是故事的背景，也是其中的角色。
The forest directly responds to the humans with fear, a response that is similar to the response of Osden, the empath, to the rest of society: "the normal defensive-aggressive reaction between strangers meeting." Thus Le Guin makes an analogy between contact between humans and aliens, and contact between individual humans; both are contact between the self and the "other".	森林直接以恐惧回应人类，一种类似于共感人奥斯登对社会其他人的反应：「陌生人见面时的正常防御性攻击反应。」因此勒瑰恩将人类与外星人之间的接触，和个别人类之间的接触进行类比；两者都是自我和「他者」之间的接触。
Osden is depicted as having a strong empathetic connection with the vegetated planet visited by the explorers.	奥斯登被描述为与探索者所造访的植物星球有强烈的移情作用连结。
This is in contrast to the sharply antagonistic relationship that the other members of the team have with him.	这和团队其他成员与他的鲜明矛盾关系成了对比。
The team is depicted as a dysfunctional group, with each individual having quirks and oddities of their own.	团队被描述为功能失调的群体，每个人都有自己的怪癖和古怪之处。
They are regarded as being of "unsound mind" by the people of Earth and Hain, because they were willing to travel on a voyage that lasted 500 years of actual time.	他们被地球和海恩的人视为「心理不健全」的人，因为他们愿意踏上实际时间长达 500 年的航程。
The fear transmitted by the forest drives them further into their neuroticism.	森林传送的恐惧让他们的神经质更为严重。
In contrast, Osden the empath surrenders completely to the forest, and thus achieves a mental unity with the planet.	相比之下，共感人奥斯登彻底向森林屈服，因此与星球达到精神统一。
In choosing a sort of union with the planet, Osden shows that the singular consciousness of the vegetative creature is preferable to the chaos and discord in human society.	在选择与星球统一的方法时，奥斯登展现出植物的单一意识比人类社会的混乱与不和谐更好。
At the conclusion of the story Tomiko describes Osden's relationship with the planet, saying "He had taken the fear into himself, and, accepting, had transcended it.	在故事的结尾，Tomiko 描述 Osdens 与地球的关系，他说：「他感到恐惧，继而接受且超越恐惧。
He had given up his self to the alien, and unreserved surrender, that left no place for evil.	面对外星人，他放弃自我，彻底投降，使邪恶毫无立足之地。
He had learned the love of the Other and thereby had been given his whole self." Osden achieves a completely empathetic relationship with the planet, "both literally and figuratively in touch with the forest;" which also grants him temporary goodwill towards humans, as he says "Listen, I will you well" before leaving his colleagues.	他学会了爱他人，从而使自已更完美。 Osden 与地球达成完全同理心的关系，「无论是字面上还是比喻上与森林的接触；」这也使他展现对人类暂时的善意，因为他在离开同事之前说「聴着，我希望您幸福」。
Immediately after CR 557 joins US 40, the road enters Buena, Atlantic County and continues southeast into inhabited areas.	在 CR 557 与 US 40 交会之后，这条路立即进入大西洋郡布埃纳 (Buena, Atlantic County)，并继续向东南方向进入有人居住的地区。
After running through the commercial center of town, where it crosses the Southern Railroad of New Jersey's Southern Running Track line, the road comes to the southern terminus of Route 54 and the eastern end of CR 619 in a business area located on the outskirts.	穿过城镇的商业中心后，旋即穿过新泽西州南方铁路的南部道路线 (Southern Railroad of New Jersey's Southern Running Track)，到达 54 号公路的南部终点和 CR 619 的东端，这是位于郊区的商业区。
At this point, it enters Buena Vista Township, and CR 557 splits form US 40 by heading to the southeast on Buena-Tuckahoe Road.	在此处，进入布埃纳维斯塔镇 (Buena Vista Township)，在延伸至 Buena-Tuckahoe 路的东南方时，CR 557 与 US 40 分道。
From this point, US 40 becomes concurrent with CR 557 Truck and enters dense woodland containing homes and businesses as well as occasional farms.	在此处，US 40 变成与 CR 557 并行，进入密集的林地，此处有家庭和企业，偶尔有农场。
The road reaches the residential community of Richland, where it encounters the eastern terminus of CR 540 and CR 622 and crosses Conrail Shared Assets Operations' Beesleys Point Secondary railroad line.	这条路到达里奇兰 (Richland) 的住宅社区，在此处与 CR 540 和 CR 622 的东部终点交汇，并穿过 Conrail Shared Assets Operations 的 Beesleys Point Secondary 铁路线。
Upon leaving Richland, the route crosses into Hamilton Township, where it runs through Mizpah before heading back into forested areas and a few residential sectors.	离开里奇兰 (Richland) 后，这条路穿过汉密尔顿镇 (Hamilton Township)，在此处会先穿过米兹帕 (Mizpah)，然后回到森林区和少数住宅区。
US 40 intersects the eastern terminus of CR 552, briefly becoming a divided highway before turning east into denser inhabited areas.	US 40 与 CR 552 的东部终点相交，短暂地成为一条分线高速公路，然后转向东进入更密集的居住区。
The highway intersects CR 559 Truck/CR 606, at which point it becomes concurrent with CR 559 Truck.	高速公路与 CR 559 Truck/CR 606 相交，在此处变成与 CR 559 Truck 并行。
The route meets Route 50, where CR 557 Truck splits to the south.	这条路与 50 号公路交会，在此处 CR 557 Truck 向南分道。
Route 50 joins US 40 before the road crosses the Great Egg Harbor River.	50 号公路与 US 40 交汇，然后穿过巨蛋港河 (Great Egg Harbor River)。
Upon crossing the river, the road enters Mays Landing and turns north into the downtown area.	这条路在穿过河后进入梅斯兰丁 (Mays Landing)，向北转进入市区。
CR 559 Truck splits southbound to follow CR 617 to the east.	CR 559 Truck 向南分道而沿循 CR 617 向东延伸。
A short distance later, the road meets CR 559 and US 40 splits from Route 50 by turning east onto that route.	在延伸很短的距离后，这条路与 CR 559 交会，而 US 40 向东转入该条路而与 50 号公路分道。
This intersection marks the beginning of CR 559 Truck northbound.	此交叉路口标记 CR 559 Truck 北行的起点。
The road passes more development before CR 559 splits from the road by heading southeast.	这条路会先通过更多开发区，然后 CR 559 向东南方延伸而与这条路分道。
US 40 heads east out of Mays Landing, where it continues through woodland and increasing residential development.	US 40 向东延伸而离开梅斯兰丁 (Mays Landing)，在此处继续穿过林地和愈来愈多的住宅开发区。
The road widens into four lanes as it comes to US 322 (Black Horse Pike) near the Hamilton Mall.	这条路随着在汉密尔顿购物中心 (Hamilton Mall) 附近到达 US 322 (Black Horse Pike) 而拓宽成四条车道。
At this point, US 40 forms a concurrency with US 322, which lasts for the remainder of the route.	在此处，US 40 与 US 322 形成并行道路，这条路的其余部分持续并行。
The two routes continue to the southeast through business areas, meeting CR 575 and a ramp to the Atlantic City Expressway.	这两条路继续向东南穿过商业区，与 CR 575 和通往大西洋高速公路 (Atlantic City Expressway) 的匝道交汇。
CR 575 turns east to follow US 40/US 322.	CR 575 向东转而沿循 US 40/US 322 延伸。
Sixteen years before Oceanic 815 crashes on the island, Rousseau was a heavily pregnant member of a six-person crew aboard a French research vessel three days out of Tahiti.	在大洋航空 815 航班 (Oceanic 815) 坠毁在岛上的十六年前，卢梭是一艘法国研究船离开大溪地的三天航程中，六名船员中的一名临产期成员。
The crew picked up a radio signal emanating from the South Pacific, which was a repeating set of six numbers: 4, 8, 15, 16, 23 and 42.	船员接收到从南太平洋发出的无线电信号，信号中重复一组六个数字：4、8、15、16、23 和 42。
While attempting to find the source of the signal, the ship ran aground on rocks surrounding the island.	这艘船在试图找到信号来源时，搁浅在岛屿周围的岩石上。
Before reaching the shore, Rousseau and her team found Oceanic 815 survivor Jin-Soo Kwon (Daniel Dae Kim) in the water, who had been time-travelling as a result of the time shifts which had been moving him and the flight survivors through the island's history.	在到达岸边之前，卢梭及其队员在水中找到历经时光旅行的 Oceanic 815 幸存者权真秀 (金大贤饰)，他与航班幸存者因时光平移而一直穿越该岛的历史。
Rousseau later tells the survivors of Oceanic 815 that two months after their arrival, that the island natives, which she called the Others, carried a disease that the rest of her crew had contracted.	卢梭后来告诉 Oceanic 815 幸存者，在他们到达岛上两个月后，岛上的原住民 (她称为其他人) 是一种疾病的带原者，而她的其他船员都感染了这种疾病。
She believed that this disease could not be allowed to reach the rest of the world, so she killed her colleagues, including her husband Robert.	她认为这种疾病不能传播到世界其他地方，所以她杀死了她的同事，包括她的丈夫 Robert。
When Jin time-travels to the past, he witnesses a different version of Rousseau's past.	当真秀时光旅行到过去时，他见证了卢梭过往的不同版本。
It is shown that the Smoke Monster, not the Others, was responsible for the "sickness" that forced her to kill her crew.	这表明，迫使她杀死其他船员的祸首就是烟怪，而不是其他人。
Rousseau confronts the father of her child, Robert, at gunpoint and accuses him of "being changed" inside the temple.	卢梭与她孩子父亲罗伯特在枪口下对峙，并指责他在神庙内「被改变」。
Robert denies this, explaining that the Monster is a security system for the temple, and convinces Rousseau to lower her weapon.	罗伯特否定此说词，而且解释烟怪是神庙的保安系统，并说服卢梭放下武器。
He attempts to shoot her when she does, but is shot by Rousseau.	当她照做时，他试图开枪打死她，但被卢梭枪杀了。
Rousseau also attempts to kill Jin, having witnessed him vanish moments after her team entered the Smoke Monster's lair, believing he has the disease.	卢梭还试图杀死真秀，因为在她的团队进入烟怪的巢穴后，她目睹真秀消失刹那，相信他已患有这种疾病。
Rousseau hiked to the radio tower and changed the message from the numbers to a repeating distress call. Three days later, Rousseau gave birth to a daughter, Alexandra.	卢梭徙步足到无线电塔，将讯息从数字改变成重复的求救电话。三天后，卢梭生下一名女儿艾莉克斯。
One week after Alex's birth, Benjamin Linus (Michael Emerson) came and took Alex from Rousseau.	艾莉克斯出生一周后，班杰明·莱纳斯 (Michael Emerson 饰) 抵达且将艾莉克斯从卢梭带走。
Ben told Rousseau that the child would be safe with them, and that she was lucky for being left alive.	班告诉卢梭，孩子和他们在一起会很安全，能幸运活着。
Before leaving, Ben tells her that if she hears whispers, she should run the other way.	在离开之前，班告诉她，如果她聴窃窃私语，应该往另一方向跑。
After this, Rousseau began setting traps in the jungle with the hope of catching one of the people responsible for Alex's kidnapping.	之后，卢梭开始在丛林中设置陷阱，希望抓住一名参与绑架艾莉克斯的人。
Rousseau makes her first appearance in the season one episode "Solitary", where she captures Sayid (Naveen Andrews), one of the plane crash survivors.	卢梭在第一季的《孤独》(Solitary) 中首次亮相，在该集中，她抓住了飞机失事幸存者之一萨伊德 (Naveen Andrews 饰)。
Rousseau tortures him until he eventually convinces her that he is not one of the Others.	卢梭折磨他，直到他说服她，他不是其他人中的一员。
She allows Sayid to return to his camp, and cautions him to keep a close eye on the other survivors.	她允许萨伊德回到营地，并警告他密切注意其他幸存者。
Among harem-holding species, the adult females mate only with their harem stallion, while in other species, mating is more promiscuous and the males have larger testes for sperm competition.	在拥有配偶群的物种中，成年雌性仅与配偶群中的种公马交配，而在其他物种中，交配更为混杂，为了争取交配机会，雄性具有较大的睾丸。
Estrus in female equines lasts 5–10 days; physical signs include frequent urination, flowing muscus, and swollen, everted labia.	雌马发情会持续 5–10 天；体征包括频尿、流动黏液及阴唇肿胀外翻。
In addition, estrous females will stand with their hind legs spread and raise their tails when in the presence of a male.	此外，发情的雌性在雄性面前时，会张开后脚站立并抬起尾巴。
Males assess the female's reproductive state with the flehmen response and the female will solicit mating by backing in.	雄性会依据雌性反应来评估雌性的生殖状态，雌性会后退来寻求交配。
Length of gestation varies by species; it is roughly 11 to 13 months, and most mares come into estrus again within a few days after foaling, depending on conditions.	妊娠时间因物种而异，约 11 至 13 个月，大多数母马在产驹后几天内就可再次进入发情期，视状况而定。
Usually, only a single foal is born, which is capable of running within an hour.	通常，只有一匹马驹出生，且刚出生的马驹在一小时内就能够奔跑。
Within a few weeks, foals attempt to graze, but may continue to nurse for 8–13 months.	幼驹在几周内就会尝试吃草，但可能继续喂养 8–13 个月。
Species in arid habitats, like Grévy's zebra, have longer nursing intervals and do not drink water until they are three months old.	如细纹斑马等干旱栖息地的物种，幼驹需要更长的哺乳期，直到三个月才喝水。
Among harem-holding species, foals are cared for mostly by their mothers, but if threatened by predators, the entire group works together to protect all the young.	在拥有雌性配偶群的物种中，幼驹主要由亲生母亲照顾，但如果受到捕食者威胁，整个马群会共同努力保护所有幼驹。
The group forms a protective front with the foals in the center and the stallion will rush at predators that come too close.	马群会形成保护阵线，将幼驹围在中心，种公马会冲向距离太近的捕食者。
In territory-holding species, mothers may gather into small groups and leave their young in "kindergartens" under the guard of a territorial male while searching for water.	在拥有领地的物种，母亲会聚集成小群体，而幼驹留在「幼稚园」且受到领地雄性的警戒保护，同时寻找水源。
Grévy's zebra stallions may look after a foal in his territory to ensure that the mother stays, though it may not be his.	细纹斑马种公马会为了确保幼驹母亲留下来而照顾领地内的一匹幼驹，即使不是亲生的。
The earliest archaeological evidence for the domestication of the horse comes from sites in Ukraine and Kazakhstan, dating to around 4000-3500 BC.	乌克兰和哈萨克的遗址存在最早的马驯化考古证据，可追溯到西元前 4000-3500 年左右。
By 3000 BC, the horse was completely domesticated, and by 2000 BC, a sharp increase occurred in the number of horse bones found in human settlements in northwestern Europe, indicating the spread of domesticated horses throughout the continent.	到西元前 3000 年，马被完全驯化，到西元前 2000 年，在欧洲西北部的人类定居点中发现的马骨数量急遽增加，表明驯养的马遍布大陆。
The most recent, but most irrefutable, evidence of domestication comes from sites where horse remains were buried with chariots in graves of the Sintashta and Petrovka cultures c. 2100 BC.	最近但最无可辩驳的马驯化证据来自在西元前 2100 年的辛塔什塔 (Sintashta) 和彼得罗夫卡 (Petrovka) 文化的坟墓中发现到马匹遗骸与战车埋葬在一起。
Studies of variation in genetic material shows that very few wild stallions, possibly all from a single haplotype, contributed to the domestic horse, while many mares were part of early domesticated herds.	遗传物质变异方面的研究表明，很少有野生种马 (可能全部来自单倍型) 对家马有贡献，而许多母马是早期驯化马群的一部分。
Przewalski's horse has been conclusively shown not to be an ancestor of the domestic horse, though the two can hybridize and produce fertile offspring.	经最终证明，普氏野马 (Przewalski's horse) 不是家马的祖先，尽管可以杂交并繁殖生下有生殖力的后代。
The split between Przewalskii's horse and E. ferus caballus is estimated to have occurred 120,000– 240,000 years ago, long before domestication.	经估计，普氐野马与欧洲野马 (E. ferus caballus) 之间的分裂发生在 120,000– 240,000 年前，远在驯化之前。
Of the caballine equines of E. ferus, E. f. ferus, also known as the European wild horse or "tarpan", shares ancestry with the modern domestic horse.	在欧洲野马亚种之中，泰班野马 (E. f. ferus；tarpan) 与现代家马有共同祖先。
In addition, tarpans that lived into modern times may have been hybridized with domestic horses.	此外，现代的泰班野马可能已经与家马杂交。
In the early 20th century, "Nkosi Sikielel' iAfrika" was becoming popular with black Africans.	在20世纪初，《Nkosi Sikielel' iAfrika》越来越受非洲黑人欢迎。
In Southern Rhodesia it was originally sung in the original Xhosa language before being translated into Shona which created "Ishe Komborera Africa".	在南罗德西亚 (Southern Rhodesia)，这首歌最初是用原始的科萨语演唱，然后被翻译成绍纳语，创作了《Ishe Komborera Africa》。
The new Shona language hymn was first performed at the start of a meeting of the Southern Rhodesia Native Association and then again four days later at the closure of the first meeting of the Bantu National Congress, which the Southern Rhodesia Native Association later became affiliated to.	新的绍纳语赞美诗首先在南罗德西亚原住民协会 (Southern Rhodesia Native Association) 的一次会议开始时表演唱，然后在四天后班图人全国大会 (Bantu National Congress) 第一次会议结束时再次演唱，南罗德西亚原住民协会 (Southern Rhodesia Native Association) 后来成为该协会的附属机构。
By the 1948 African General Strike, it had become the main political song amongst black Africans.	在 1948 年非洲总罢工时，这首歌已成为非洲黑人的主要政治歌曲。
Despite that connotation, the song was accepted by black and white Rhodesians.	尽管有这种内涵意义，这首歌还是被罗得西亚黑人和白人所接受。
In 1951, at a British South African Police athletics competition, "Ishe Komborera Africa" was sung by combined black and white policemen to commemorate the first multi-racial competition in Southern Rhodesia.	1951 年，在一次英国南非员警田径比赛中，黑人和白人员警共同演唱了《Ishe Komborera Africa》，以纪念南罗得西亚的第一次多族裔比赛。
Following Rhodesia's Unilateral Declaration of Independence from the British Empire, the new Rhodesian authorities started to crack down on African liberation movements.	在罗得西亚 (Rhodesia) 单方面宣布脱离大英帝国独立后，罗得西亚的新当局开始镇压非洲解放运动。
One of their considerations was to ban performance of "Ishe Komborera Africa" in African schools and public performance of it often made people liable for arrest by the British South African Police.	新当局的其中项考虑是禁止在非洲学校表演《Ishe Komborera Africa》，而从事公开表演的人往往使会人们被英国南非警方逮捕。
The District Commissioner for Gutu abolished the Gutu African Council after its leader opened a meeting by singing "Ishe Komborera Africa" in the District Commissioner's presence.	古图地区专员 (District Commissioner for Gutu) 因古图非洲理事会 (Gutu African Council) 的领导人在会议开始时在地区专员面前唱《Ishe Komborera Africa》，而使古图非洲理事会遭废除。
The Commissioner also had the leader arrested but he was released without charge.	专员还逮捕了该领导人，但他因未受到指控而被释放。
Following the Southern Rhodesian general election, 1980, after Zimbabwe Rhodesia returned to British control as Southern Rhodesia, Robert Mugabe's Zimbabwe African National Union party won to become the first government of an independent Zimbabwe.	1980年南罗得西亚大选后，辛巴威罗德西亚 (Zimbabwe Rhodesia) 作为南罗得西亚回归英国控制后，Robert Mugabe 的辛巴威非洲民族联盟党 (Zimbabwe African National Union) 获胜，成为辛巴威独立后的第一个政府。
After this, "Ishe Komborera Africa" was selected to replace the official "God Save the Queen" of Southern Rhodesia and the unofficial "Rise, O Voices of Rhodesia" of Rhodesia as the national anthem of an independent Zimbabwe as it was a symbol of black African struggles and solidarity against apartheid systems in South Africa and Namibia.	在此之后，「Ishe Komborera Africa」成为非洲黑人斗争和团结反对南非和纳米比亚种族隔离制度的象征，而被选为独立的辛巴威的国歌，取代南罗得西亚的官方《God Save the Queen》和罗得西亚的非官方《Rise, O Voices of Rhodesia》。
At the Zimbabwean independence ceremony, the Union Jack was lowered to "God Save the Queen" and the new flag of Zimbabwe was raised to "Ishe Komborera Africa" in Salisbury.	在辛巴威独立仪式上，英国国旗 (Union Jack) 被降为「天佑女王」(God Save the Queen)，辛巴威的新国旗在索尔兹伯里市 (Salisbury) 被提升为《Ishe Komborera Africa》。
In 1994, it was deemed that Zimbabwe should change its national anthem to avoid similarities with other countries who used the tune of "Ishe Kombererra Africa".	1994年，人们认为辛巴威应该改变国歌，以避免与使用《Ishe Kombererra Africa》曲调的其他国家相似。
Tanzania used "Mungu ibariki Afrika", Zambia used "Stand and Sing of Zambia, Proud and Free" (to the same tune) and Transkei who used "Nkosi Sikielel' 'Afrika".	坦尚尼亚 (Tanzania) 使用「Mungu ibariki Afrika」，尚比亚 (Zambia) 使用《Stand and Sing of Zambia, Proud and Free》(以相同的曲调)，特兰斯凯 (Transkei) 使用《Nkosi Sikielel' 'Afrika》。
It was also because Mugabe wanted to develop a new distinctly Zimbabwean identity with a unique national anthem.	这也是因为 Mugabe 想用独特的国歌来发展一种新的独特的辛巴威身份。
A contest was held to determine a new national anthem and "Simudzai Mureza wedu weZimbabwe" by Solomon Mutswairo was chosen.	为了确定新的国歌，举行了一场竞赛，Solomon Mutswairo 的《Simudzai Mureza wedu weZimbabwe》被选中。
The new anthem was promoted prior to "Ishe Komborera Africa" being replaced as the official national anthem.	新国歌是在《Ishe Komborera Africa》被取代为官方国歌之前就已广为流传。
However, there was scepticism from Christians about the need for replacing "Ishe Komborera Africa" with the belief that it was part of a plan by ZANU-PF to remove references to God from Zimbabwe's official proceedings.	然而，基督徒对是否需要取代《Ishe Komborera Africa》持怀疑态度，认为这是 ZANU-PF 从辛巴威的官方程序中删除提及上帝所规划的一环。
The change of anthem from "Ishe Komberera Africa" was later confirmed by the Parliament of Zimbabwe in 1995 by the passage of the National Anthem of Zimbabwe Act 10:15.	后来在1995年由辛巴威议会通过辛巴威国歌法10:15确认从「Ishe Komborera Africa」更换国歌。
Sprigg was a member and sometime president of the Tri-State Agricultural Association of Allegany County, which held a fair at its grounds near Cumberland in October 1894 and 1895.	Sprigg 是阿利根尼县 (Allegany County) 三州农业协会 (Tri-State Agricultural Association) 的成员，有时是该协会的主席，该协会于 1894 年和 1895 年 10 月在昆布兰郡 (Cumberland) 附近的场地举行了一次博览会。
Sprigg was an active Freemason, and served as junior warden and later master of the Potomac Lodge, Number 100 of the Free and Accepted Masons, in Cumberland.	Sprigg 是一位活跃的共济会 (Freemason) 会员，曾担任昆布兰郡 (Cumberland) Potomac Lodge, Number 100 of the Free and Accepted Masons 的初级督导员和后来的尊主。
He was also a charter member of Cumberland's McKinley Chapter 12 of the Order of the Eastern Star.	他还是东方之星骑士团 (Order of the Eastern Star) 昆布兰郡 (Cumberland) 马里兰州 12 分会 (McKinley Chapter 12) 的创始成员。
In 1905, Sprigg was elected as grand Adah of the order's Grand Maryland Chapter during the chapter's state convention in Cumberland; and that same year, he served as grand chaplain general of the McKinley Chapter.	1905 年，Sprigg 在昆布兰郡分会的州大会上当选为该分会马里兰州分会的大阿达；同年，他担任麦金利分会的大牧师。
Sprigg was a member of the Episcopal Church and attended Emmanuel Episcopal Church in Cumberland, where he served as vice president and president of the Emmanuel Episcopal Church Club.	Sprigg 是美国圣公会 (Episcopal Church) 的成员，并参加了昆布兰郡 (Cumberland) 的伊曼纽尔圣公会 (Emmanuel Episcopal Church)，并担任伊曼纽尔圣公会俱乐部 (Emmanuel Episcopal Church Club) 的副主席和主席。
As a former Confederate sympathizer during the American Civil War, Sprigg was active in Confederate memorial activities.	Sprigg 身为美国南北战争期间的前邦联同情者的一份子，积极参与邦联纪念活动。
In 1902, he delivered a speech on behalf of Confederate veterans at Memorial Day exercises in Cumberland.	1902 年，他在昆布兰郡 (Cumberland) 的阵亡将士纪念日演习中代表邦联退伍军人发表演讲。
Following a prolonged illness, Sprigg died at his residence on Washington Street in Cumberland on November 3, 1911.	在长期患病后，Sprigg 于 1911 年 11 月 3 日在昆布兰郡 (Cumberland) 华盛顿街的住所去世。
He was survived by his wife Mary Ellen and their four daughters.	他的妻子 Mary Ellen 和他们的四个女儿幸存下来。
Sprigg's funeral service was held on November 6 at Emmanuel Episcopal Church in Cumberland.	Sprigg 的葬礼于 11 月 6 日在昆布兰郡 (Cumberland) 的伊曼纽尔圣公会教堂 (Emmanuel Episcopal Church) 举行，
He was interred at Rose Hill Cemetery.	他被埋葬在 Rose Hill Cemetery。
The band's array of influences mostly include alternative indie rock bands Superchunk, Jawbox, Sunny Day Real Estate, the Flaming Lips, Fugazi, and Pavement.	乐队的影响范围主要包括另类独立摇滚乐队 Superchunk、Jawbox、Sunny Day Real Estate、the Flaming Lips、Fugazi 和 Pavement。
Additional artists that inspired the band includes Braid and The Rentals, Elvis Costello, Pixies, Tom Waits, Ben Folds, the Weakerthans, Poster Children, the Carpenters, and the Cardigans.	启发乐队的其他艺术家包括 Braid and The Rentals、Elvis Costello、Pixies、Tom Waits、Ben Folds、the Weakerthans、Poster Children、the Carpenters 和 the Cardigans。
AllMusic additionally credits bands such as Weezer and the Get Up Kids as influences, among others.	AllMusic 还认为 Weezer  和 Get Up Kids 等乐队受到影响。
Pierre quoted Waits that "all anybody ever does is imitate their favorite artist—badly," adding, "we're just regurgitating all the crap we listened to in the late '80s and early '90s, the music that got us into playing music in the first place."	Pierre 引用 Waits 的话说，「任何人所做的一切都是模仿他们最喜欢的艺术家 - 很糟糕，」并补充说，「我们只是在反刍我们在80年代末和90年代初听到的所有废话，这些音乐让我们首先开始演奏音乐。」
The band's musical style is widely recognizable by its unique blend of pop punk with the Moog synthesizer.	乐队的音乐风格因其独特的流行朋克与 Moog 合成器音源机的融合而广为人知。
The usage of the Moog stems from Cain, who first heard the instrument employed on the Rentals' album Return of the Rentals (1995).	Moog 的用法源自 Cain，他在 Rentals 的专辑 Return of the Rentals (1995) 中首次听到使用该乐器。
He subsequently bought a cheap Moog at a pawn shop and wanted it to be an integral part of Motion City upon their formation.	随后，他在一家当铺买了便宜的 Moog，并希望它成为 Motion City 成立后的必要部分。
Johnson became known for his signature "Moogstand" in live performances, which consisted of a handstand on the instrument.	Johnson 以其现场表演中的签名「Moogstand」而闻名，其中包括乐器的倒立架。
The group has been widely attributed to a number of different genres, including pop rock, power pop, indie rock, emo, and pop punk.	该乐队被广泛归因于多种流派，包括流行摇滚、强力流行、独立摇滚、Emo 和流行朋克。
Joshua Cain dismissed this latter label, remarking, "I definitely wouldn't consider us a pop-punk band.	Joshua Cain 驳回了后一个唱片公司的评论，他说：「我绝对不会认为我们是一支流行朋克乐队。
Our influences are more based on '90s bands like Superchunk and early Weezer." Pierre characterized the band's music as "dirty, fast, happy, emotional rock songs."	我们的影响力更多地来自于90年代的 Superchunk 和早期乐队 Weezer。 」 Pierre 将乐队的音乐描述为「肮脏，快速，快乐，充满情感的摇滚歌曲。」
Nylon compared the music of their debut album, I Am the Movie, to All and the Get Up Kids.	Nylon 比较他们的首张专辑《I Am the Movie》与《All and the Get Up Kids》。
It has been described as having a "distinctly unified and identifiable style." Subsequent releases varied in style.	它被描述为具有「明显统一和可识别的风格」。后续发行的音乐风格各异。
My Dinosaur Life, for example, saw the band attempting to emulate their favorite post-hardcore acts, such as Archers of Loaf and Dinosaur Jr.	例如，My Dinosaur Life 看到如 Archers of Loaf 和 Dinosaur Jr 等乐队试图模仿他们喜欢的后硬蕊表演。
"I Am Your Leader" is a hardcore hip-hop and electro-hop song that runs for three minutes and thirty-three seconds.	《I Am Your Leader》是一首硬蕊嘻哈和电子歌曲，曲长三分三十三秒。
The production consists of a "chilled-out, humming beat punctuated on the chorus with a blunted fake-horn hook—halfway between classic-era Neptunes and Look At Me Now" according to Andrew Unterberger of Popdust.	根据 Popdust 的 Andrew Unterberger 的说法，这首作品包括一个「冷静的，嗡嗡作响的节拍，在合唱中穿插着混音的假喇叭钩子 - 介于经典时代的 Neptunes与 Look At Me Now 之间」，
It also contains repetitive, high-pitched, off-pitch synth hooks, and a booming, static bass.	还包含重复、高音调、走音的合成器钩子，以及一个闪亮节奏的静态低音。
"I Am Your Leader" makes use of sparse beats, frills, minimal instrumentation, and allows Minaj's rhymes to be the focal point, all of which gives the song "something of a mixtape feel" according to Joe Rivers of No Ripcord.	根据《No Ripcord》杂志的Joe Rivers的说法，《I Am Your Leader》利用稀疏的节拍、修饰音、最小的器乐谱写，并允许 Minaj 的韵律成为焦点，所有这些都给了这首歌「某种混音带的感觉」。
In his review of the song, Unterberger of Popdust noted Hit-Boy's modern hip hop production, saying "Diplo and Bangladesh might have to watch their back after the up-and-comers contributions to this album." Adam Fleischer of XXL said "Nicki dishes boast-heavy verses about how she’s better than all these other bitches."	Popdust 的 Unterberger 在对这首歌的评论中指出了 Hit-Boy 的现代嘻哈制作，他说：「Diplo 和孟加拉国可能不得不在这张专辑的后起之秀之后难望项背。」《XXL》的 Adam Fleischer 说：「Nicki 闲聊吹嘘她如何比所有其他美眉更好」。
"I Am Your Leader" received positive reviews from critics.	《I Am Your Leader》获得了评论家的推崇评价。
Andrew Unterberger of Popdust gave it a 4-star rating, complimenting Minaj's rapping as well as the guest verses of Cam'ron and Rick Ross.	Popdust 的 Andrew Unterberger 对这首歌给 4 星评级，称赞了 Minaj 的说唱以及 Cam'ron 和 Rick Ross 的客座诗句。
However, Unterberger felt that Minaj was overshadowed by the guest verses.	然而，Unterberger 认为 Minaj 被客座诗句所掩盖。
Andrew Hampp of Billboard echoed Unterberger's sentiments, saying "The nostalgia of Cam's return trumps the overall catchiness of the song." XXL Magazine stated that "Though many of the early songs [on the album] lack real substance, the records remain generally exciting - “I Am Your Leader,” alongside Rick Ross and Cam’ron, “Beez In The Trap” with 2 Chainz, and the triumphant “Champion” featuring Nas, Drake and Young Jeezy are all memorable moments".	Billboard 的 Andrew Hampp 回应 Unterberger 的观点，他说：「对 Cam 回归的怀旧情绪胜过了这首歌的整体朗朗上口。《XXL》杂志指出，「虽然[专辑中的]许多早期歌曲缺乏真正的内容，但唱片仍然普遍令人兴奋 - 与 Rick Ross 和 Cam'ron 一起的《I Am Your Leader》，与 2 Chainz 合作的《Beez In The Trap》，以及 Nas、Drake 和 Young Jeezy 的胜利《Champion》都是令人难忘的时刻」。
Joe Rivers No Ripcord praised "I Am Your Leader" along with "Beez in the Trap" for being "thrilling" and making "good use of cameos".	《No Ripcord》杂志的 Joe Rivers 称赞《I Am Your Leader》和《Beez in the Trap》「令人兴奋」并「很好地利用了客串」。
Stephen Deusner of Paste Magazine said that "On the nursery rhyming “I Am Your Leader,” [Minaj] spits yet another dick joke like a playground jeer, slyly undermining hip-hop's traditionally male-centric braggadocio.	《Paste Magazine》杂志的 Stephen Deusner 说：「在童谣《I Am Your Leader》，[Minaj] 轻蔑地说另一个生殖器笑话，就像游乐场的嘲笑者一样，狡猾地破坏了嘻哈传统上以男性为中心的吹嘘。
She's not only participating in phallocentric boasting; she's also inflating the convention with a Swedish penis pump until it's just shy of bursting".	她不仅参与以为中心的吹嘘；她还用瑞典真空助勃器来充气，直到它爆裂」。
David Jeffries of Allmusic listed it as one of the best tracks on the album.	Allmusic 的 David Jeffries将其列为专辑中最好的曲目之一。
Matthew Cole of Slant Magazine stated that "'I Am Your Leader' and 'Beez in the Trap' [are] two excellent tracks which manage to sound both bubbly and heavy as Minaj delivers her most effortlessly entertaining shit-talk to date".	《Slant Magazine》杂志的Matthew Cole表示，《I Am Your Leader》和《Beez in the Trap》[是]两首优秀的曲目，当Minaj提供她迄今为止最轻松的娱乐性废话时说，它们听起来既活泼又沉重」。
Ryan Dombal of Pitchfork called "Come On A Cone" and "I Am Your Leader" "two brilliantly off-kilter songs".	Pitchfork 的 Ryan Dombal 称《Come On A Cone》和《I Am Your Leader》是「两首精彩绝伦的歌曲」。
Tom Ewing of The Guardian said that "On "I Am Your Leader", [Minaj] drops a couple of octaves to gleefully pompous effect".	《卫报》(Guardian) 的 Tom Ewing 说：「在《I Am Your Leader》中，[Minaj]放了几个八度音阶，以达到令人愉悦的浮夸效果。」
Kevin Ritchie of NOW Magazine named it the top track of the album.	《NOW》杂志的 Kevin Ritchie 将其称为专辑的最受欢迎曲目。
Kyle Anderson of Entertainment Weekly named it one of the best tracks on the album along with "Champion".	《娱乐周刊》(Entertainment Weekly) 的 Kyle Anderson 将其与《Champion》一起评为专辑中最好的曲目之一。
The video begins with a pink mailbox with the song's title on the front written in different fonts.	影片的开头是前面用不同字体写着曲名的粉红色邮箱。
The video is set in a playhouse esque brightly coloured house.	该影片设定在色彩鲜艳的剧院内。
The episode was written by Richard Appel, but the idea of Bart and Lisa attending a military academy had previously been pitched, and had been floating around since 1991.	这一集是由 Richard Appel写剧本，但 Bart 和 Lisa 上军事学院的想法以前就有人提出过，并且从 1991 年以来一直流传。
The idea had not yet been used as an episode plot, because the writers had not felt comfortable with taking Bart and Lisa to a strange place early in the series.	这个想法还没有被用作剧集情节，因为编剧们对在剧集早期把 Bart 和 Lisa 带到一个陌生的地方感到不舒服。
During the scene where the Commandant is talking, there is a brief shot of Lisa blinking.	在指挥官说话的场景中，有一个 Lisa 眨眼的简短镜头。
As there had been an error in the final print of the episode, the shot was animated, painted and shot on May 16, 1997, the Friday before the episode's airdate.	由于该集的最终成品有误，因此拍摄画面于 1997 年 5 月 16 日 (即该集播出日期前的星期五) 进行动画制作、绘画和拍摄。
The spiky blond-haired boy, who runs towards the Eliminator while screaming, is a caricature of director Mike B. Anderson.	这个尖尖的金发男孩，在尖叫声中跑向消除器，这是导演 Mike B. Anderson 的讽刺漫画。
The episode originally aired on May 18, 1997, as the season finale, along with a rerun of "The Springfield Files." The episode was mistakenly anticipated by some as being about Lisa launching "a legal battle" to enroll at the military school.	该集最初于1997年5月18日播出，作为本季大结局，以及「The Springfield Files」的重播。这一集被一些人错误地认为是关于丽莎发起「一场法律战」以进入军校。
In its original broadcast, "The Secret War of Lisa Simpson" finished 47th in ratings for the week of May 12–18, 1997, with a Nielsen rating of 8.3, equivalent to approximately 8.1 million viewing households.	在首播中，《丽莎·辛普森的秘密战争》(The Secret War of Lisa Simpson) 在 1997 年 5 月 12 日至 18 日这一周的收视率中排名第 47 名，尼尔森收视率为 8.3，相当于约 810 万家庭收视率。
It was the second highest-rated show on the Fox network that week, following The X-Files.	这是本周福克斯电视网收视率第二高的节目，仅次于《X档案》。
Warren Martyn and Adrian Wood, the authors of the book I Can't Believe It's a Bigger and Better Updated Unofficial Simpsons Guide, disliked the episode, writing that it was "very dull" and that Dafoe was not used well.	Warren Martyn 和 Adrian Wood 是《我简直不敢相信这是更大更新的辛普森家庭非官方指南》（I Can't Believe It's a Bigger and Better Updated Unofficial Simpsons Guide）一书的作者，他们不喜欢这一集，写道它「非常沉闷」，Dafoe 角色未充分发挥。
However, Dafoe is one of show runner Josh Weinstein's favorite guest stars.	然而，Dafoe 是 Josh Weinstein 最喜欢的客串明星之一。
Ian Johnson argued Dafoe's casting was "rare" and "somewhat offbeat".	Ian Johnson 认为 Dafoe 的选角是「罕见的」，而且「有点另类」。
Journalist Raju Mudhar also wrote that in this episode, "The Simpsons have succinctly laid out our eventual future." This referred to the rise of robots (such as combat drones) in the real world and the quote from this episode:	记者 Raju Mudhar 也写道，在这一集中，「辛普森一家简明扼要地阐述了我们最终的未来」。这指的是机器人（如战斗无人机）在现实世界中的兴起以及本集的引用：
"The wars of the future will not be fought on the battlefield or at sea.	「未来的战争不会在战场上或海上进行。
They will be fought in space, or possibly on top of a very tall mountain.	他们将在太空中战斗，或者可能在一座非常高的山顶上进行战斗。
In either case, most of the actual fighting will be done by small robots.	无论哪种情况，大多数实际战斗都将由小型机器人完成。
And as you go forth today remember always your duty is clear: To build and maintain those robots."	当你今天走出去时，永远记住你的职责是明确的：建造和维护这些机器人。 」
The episode was one of four in 1999 released on a VHS (Re-released on DVD in 2005) called Bart Wars focused on crosses between The Simpsons and Star Wars.	这一集是 1999 年在VHS上发行的四集之一（2005 年在 DVD 上重新发行），名为《星球大战》(Bart Wars)，专注于辛普森一家和星球大战之间的交错。
However, one critic wrote that with this episode and "Marge Be Not Proud" and "Dog of Death," both of which are also on the DVD, the "Star Wars connection" is "tangential at best."	然而，一位评论家写道，这一集和《玛姬不骄傲》(Marge Be Not Proud)和《死亡之犬》(Dog of Death) 也在 DVD 上，「星球大战的联系」充其量是「无关紧要的」。
By end of the 16th century Cassel had become a border town between France and the Spanish Netherlands.	到 16 世纪末，Cassel 已成为法国和西班牙荷兰之间的边境城镇。
The French repeatedly fought with Spain and later the independent Dutch Republic for control of the town; in March 1645, Gaston, Duke of Orléans seized it but lost it again to the Spanish a few months later.	法国人多次与西班牙和后来独立的荷兰共和国争夺该镇的控制权。 1645 年 3 月，奥尔良公爵加斯东 (Gaston, Duke of Orléans) 夺取了它，但几个月后再次将其输给了西班牙人。
In 1658 Turenne expelled two Irish regiments in the pay of the Spanish who were garrisoning Cassel.	1658 年，Turenne 驱逐了两个爱尔兰军团，以支付驻守 Cassel 的西班牙人的薪水。
The French captured the town in July 1676 under Louis de Crevant, Duke of Humières and strengthened the castle.	1676 年 7 月，法国人在休米埃尔公爵路易·德·克雷万特 (Louis de Crevant, Duke of Humières) 的领导下占领了该镇，并加固了城堡。
The following year, a third Battle of Cassel took place just west of the town on 11 April 1677 when a French army under François-Henri de Montmorency, duc de Luxembourg and Philippe I of Orléans defeated Dutch forces commanded by William III of Orange.	次年，第三次 Cassel 战役于 1677 年 4 月 11 日在该镇以西发生，当时弗朗索瓦·亨利·德·蒙莫朗西，卢森堡公爵 (François-Henri de Montmorency, duc de Luxembourg) 和奥尔良公爵菲利普一世 (Philippe I of Orléans) 领导的法国军队击败了奥兰治亲王威廉三世 (William III of England) 指挥的荷兰军队。
The battle took place after King Louis XIV of France besieged the Dutch-held town of Saint-Omer during the Franco–Dutch War.	这场战役发生在法国国王路易十四在法荷战争期间围攻荷兰控制的圣奥梅尔镇 (Saint-Omer) 之后。
William sent an army to relieve Saint-Omer but was defeated at the village of Zuytpeene just to the west of Cassel, losing 7-8,000 men killed or wounded and another 4,000 taken prisoner.	威廉派出一支军队去解救圣奥梅尔镇 (Saint-Omer)，但在 Cassel 以西的 Zuytpeene 村被击败，损失了 7,000-8,000 人死亡或受伤，另有 4,000 人被俘。
Saint-Omer fell a week later.	一周后，圣奥梅尔镇 (Saint-Omer) 被攻陷。
Cassel was annexed to France the following year under the terms of the Treaty of Nijmegen, which ended the war.	次年，Cassel 根据《奈梅亨条约》(Treaty of Nijmegen) 的条款被并入法国，结束了战争。
The annexation led to the town's defences being dismantled; it was considered indefensible, as it was within easy firing range of the nearby Mont des Récollets, and it would have cost far too much to fortify both hills.	吞并导致该镇的防御工事被拆除；这被认为是无法防卫的，因为该镇在附近的 Mont des Récollets 的轻松射击范围内，而且加固两座山丘的成本太高。
In addition, the revised frontier following the treaty was now a significant distance from Cassel and without the proximity of the border, the town was no longer seen as having much strategic significance.	此外，根据条约修订的边界现在距离 Cassel 很远，没有边界的接近，该镇不再被视为具有太大的战略意义。
During the French Revolutionary Wars, Cassel is said to have been the hill up which the Grand Old Duke of York marched his 10,000 men before he "marched them down again".	在法国大革命战争期间，据说 Cassel 是大老约克公爵 (Grand Old Duke of York) 在「再次将他们赶下」之前他的10,000名士兵行进的山丘。
While it is true that Prince Frederick, Duke of York and Albany, did command an army in the Flanders Campaign of 1793 and was probably in the vicinity, the link with Cassel is considered dubious as the eponymous nursery rhyme appears to have originated well before the Revolutionary Wars.	虽然腓特烈王子 (Prince Frederick, Duke of York and Albany) 确实在 1793 年的佛兰德斯战役 (Flanders Campaign) 中指挥过一支军队，并且可能就在附近，但与 Cassel 的联系被认为是可疑的，因为同名的童谣似乎起源于独立战争之前。
The population of Cassel grew to about 4,200 people by the mid-19th century.	到 19 世纪中叶，Cassel 的人口成长到约4 ,200 人。
Benjamin Disraeli, later to become Prime Minister of the United Kingdom, stayed there for a month in September–October 1845 and wrote in a letter to his sister Sarah that he considered it "an extremely savage place; few of the inhabitants, & none of the humbler classes, talk French, there is no library, bookseller's shop, nor newspaper of any sort ...	班杰明·迪斯雷利 (Benjamin Disraeli) 后来成为英国首相，于 1845 年 9 月至 10 月在那里停留了一个月，并在给妹妹莎拉的一封信中写道，他认为这是「一个极其野蛮的地方；少数居民，和没有一个谦逊的阶层、讲法语、没有图书馆、书店、也没有任何形式的报纸......
It is quite French Flanders, their provisions come from Holland, the Hotel de Ville was built by the Spaniards, the carillons are perpetually sounding, & religion is supreme."	这是相当法国法兰德斯地区 (French Flanders)，他们的食物来自荷兰，市政厅是由西班牙人建造，钟琴永远悠扬，且宗教至高无上。
In 1848, Cassel gained a railway connection when the Lille-Dunkirk line was built.	1848 年，Cassel 在里尔-敦克尔克线 (Lille-Dunkirk) 建成时获得了铁路连接。
The station is, however, at the foot of the hill at Oxelaëre some 3 kilometres (1.9 mi) from the centre of Cassel.	然而，该车站位于 Oxelaëre 山脚下，距离 Cassel 市中心约3公里（1.9英里）。
To link the two places, an electric tramway was built under the auspices of the Compagnie des Tramways de Cassel, which operated between 1900 and 1934. It was replaced by a bus link which still operates today.	为了连接这两个地方，在1900年至1934年间运营的 Compagnie des Tramways de Cassel 的赞助下建造了一条电动有轨电车，它被今天仍在运营的公车线路所取代。
Cassel served as the headquarters of Marshal Ferdinand Foch during the early part of the First World War, between October 1914 and May 1915.	Cassel 在第一次世界大战初期（1914 年 10 月至 1915 年 5 月）担任马歇尔‧斐迪南‧佛区 (Marshal Ferdinand Foch) 指挥官。
Kruščica belonged to a group of concentration camps in the Independent State of Croatia where mass executions of inmates were performed.	Kruščica 属于克罗埃西亚独立国 (Independent State of Croatia) 的一群集中营，在那里大规模处决囚犯。
During first two months of the functioning of the camp, local residents killed three thousand people within it.	在集中营运作的前两个月，当地居民杀死了其中的三千人。
At the end of July 1941, the Ustaše, under the command of Boško Cvjenćek, captured and transported a group of 74 Serbs from Pale to the Kruščica camp with the false explanation that they were going to work and earn money.	1941 年 7 月底，乌斯塔沙人 (Ustaše) 在 Boško Cvjenćek 的指挥下，俘虏了一群 74 名塞尔维亚人 (Serbs)，并将其从帕莱 (Pale) 运送到克鲁斯奇卡 (Kruščica) 集中营，并谎称他们要工作和赚钱。
All of them were killed.	他们都被杀了。
All of them were cruelly massacred by Ustaše during the night on 5 August 1941.	在 1941 年 8 月 5 日的夜间，他们所有人都被乌斯塔沙人残忍地屠杀。
According to a 2001 work published by Hrvatski informativni centar and authored by Topalović, imprisoned Serbs were actually political prisoners who attacked the Ustaše, attempting to kill them, refusing all calls for surrender, so the Ustaše were forced to kill them.	根据 Hrvatski informativni centar 于 2001 年出版并由 Topalović 著作的一部作品，被监禁的塞尔维亚人实际上是政治犯，他们袭击且试图杀死乌斯塔沙人，并且拒绝了所有投降的呼吁，因此乌斯塔沙人被迫杀死他们。
Topalović also emphasized that the Ustaše commander of the camp, Josip Tehler was killed attempting to suppress the rebellion.	Topalović 还强调，集中营的乌斯塔沙指挥官 Josip Tehler 在试图镇压叛乱时被杀。
The first transport of inmates arrived at Kruščica between 28 August and 1 September 1941, when around 1,000 people, mostly Jewish women and children, were transported from concentration camps on Pag and in Gospić.	1941 年 8 月 28 日至 9 月 1 日之间第一批囚犯抵达克鲁斯奇卡，当时约有 1,000 人（其中大多数是犹太妇女和儿童）从帕格 (Pag) 和戈斯皮奇 (Gospić) 的集中营被运走。
During the night of 3 September 1941, members of the Ustaše broke into the houses of Jewish residents of Sarajevo, captured the inhabitants, and transported them to Kruščica.	1941 年 9 月 3 日夜间，乌斯塔沙成员闯入塞拉耶佛 (Sarajevo) 犹太居民的房屋，俘虏了居民，并将他们运送到克鲁斯奇卡。
The next day, the Ustaše plundered the homes of imprisoned Jewish victims.	第二天，乌斯塔沙人掠夺了被监禁的犹太受害者的家园。
At the beginning of September 1941, there were approximately 3,000 people interned in Kruščica camp, including 300 Serb women and children, with the remainder being Jews.	1941 年 9 月初，大约有 3,000 人被关押在克鲁什奇察集中营，其中包括 300 名塞尔维亚妇女和儿童，其余是犹太人。
All were housed in two buildings, 80 people to each room, without basic living conditions.	所有人都住在两栋楼中，每个房间 80 人，没有基本的生活条件。
The Jewish community from Zagreb sent carloads of packages to inmates in Kruščica.	来自萨格勒布 (Zagreb) 的犹太社区寄送了一车包裹给克鲁斯奇卡的囚犯。
Local Ustaše burned these before the eyes of hungry children and women, who were unable to retrieve anything.	当地的乌斯塔沙人在饥饿的儿童和妇女眼前烧毁了这些，他们无法取回任何东西。
It was difficult to accommodate and feed the inmates of this camp, so the Ustaše decided to resolve this difficulty by torturing inmates with forced labour and hunger and by killing them.	这个集中营的囚犯很难容纳和喂养他们，所以乌斯塔沙人决定以强迫劳动和饥饿方式折磨囚犯并杀死他们来解决此困难。
The camp was destroyed after the Second World War.	该集中营在第二次世界大战后被摧毁。
One building was restored, and a memorial area, occupying around 2,000 m² was established, consisting of the restored building (containing a museum), a monument created by Fadil Bilić, incorporating a text from Ivan Goran Kovačić's poem Jama, and several memorial plaques commemorating communities interned in the camp (including those from Zenica and Pale).	一座建筑被修复，并建立了一个占地约 2,000 平方公尺的纪念区，这包括经过修复的建筑（包含博物馆），由 Fadil Bilić 设立的纪念碑，融合了 Ivan Goran Kovačić's 的诗歌 Jama 的本文，以及几块纪念集中营中被拘留的社区（包括 Zenica 和 Pale 的纪念碑）。
This memorial area became known as the 'Black House' (Crna kuća).	这个纪念区被称为「黑屋」 (Crna kuća)。
During the War in Bosnia & Herzegovina, the museum's contents were removed.	在波士尼亚与赫塞哥维纳 (Bosnia & Herzegovina) 战争期间，博物馆的内容被去除了。
In 2014, the site was declared a National Monument of Bosnia and Herzegovina.	2014 年，该遗址被宣布为波士尼亚与赫塞哥维纳国家纪念碑。
Originally, Silberling envisioned employing novice actors in the lead roles, but acknowledged performers with the level of recognition of Cage and Meg Ryan would attract support for the production.	布莱德 (Silberling) 原先想雇用新秀演员担任主角，但明白演技深受肯定的凯吉 (Cage) 和梅格·莱恩 (Meg Ryan) 对于制片将成为具吸引力的支持。
After having completed action-oriented roles in The Rock, Con Air and Face/Off, Cage was eager to star in a more profound film when he received Stevens' screenplay.	凯奇在演出《绝地任务》(The Rock)、《空中监狱》(Con Air) 和《变脸》(Face/Off) 等动作片角色后，在接到史蒂文斯 (Stevens) 的剧本后，渴望出演一部更深刻的电影。
He agreed to accept the role, noting the spiritual issues in the story and the impact it had on him, but not elaborating on his own beliefs.	凯奇同意担任赛斯 (Seth) 角色，他注意到故事中的灵性议题及其对他的影响，但没有详细说明自己的信仰。
Ryan also agreed to accept the role of Maggie, remarking "I don't know if angels are floating around, but the idea that there's a guiding force is something I embrace".	莱恩也同意担任玛姬 (Maggie) 这个角色，他说：「我不知道天使是否漂浮在周围，但有一种引导力的想法是我所接受的。」
Andre Braugher, an actor on the television series Homicide: Life on the Street, was able to work on the project while Homicide was on break before the beginning of its sixth season.	电视剧《情理法的春天》（Homicide: Life on the Street）的演员安德鲁·布瑞格 (Andre Braugher) 在《情理法的春天》第六季开始前的休息时间期间，他能够参与这部电影。
His new co-star Dennis Franz was also starring on a police procedural series, NYPD Blue.	他的新联合主演丹尼斯·法兰兹 (Dennis Franz) 还出演了一部警察程序系列剧《纽约重案组》(NYPD Blue)。
Cage said that with this role, he had to switch from his regular methods of constant movements to trying to be "effective" while often still.	凯奇说，由于演出这个角色，他必须从保持定期经常运动转变为试图「有效率」的运动。
He remarked on having to adopt the mindset of a child, and act impressed by commonplace experiences such as feeling rain or sunlight.	他评论说，必须怀有赤子之心，并对感受雨水或阳光等司空见惯的体验有印象深刻。
A rig for the camera was built for the scene where the angelic Seth sees Maggie look in the mirror, and the crew shot the mirror without the actors for one take so Cage's reflection could be edited out from the take with both.	为天使般的赛斯看到玛姬照镜子的场景建造了一个摄影机装备，工作人员在没有演员的情况下拍摄了镜子，使得可以从拍摄中编辑出凯奇的反射。
Other special effects involved a "going to the light" afterlife depiction, in which Seth walks with a little girl, played by Sarah Dampf, who has died.	其他特效涉及「走向光明」的来世描绘，其中赛斯与一个小女孩一起走路，这名小女孩由已经去世的莎拉·丹普夫 (Sarah Dampf) 饰演。
After cinematographer John Seale shot the scene in a hallway, Sony Pictures Imageworks' John Nelson increased the brightness to end in white, adding splinters of light.	在摄影师约翰·西尔 (John Seale) 在走廊里拍摄了这个场景后，索尼图形影象动作公司 (Sony Pictures Imageworks) 的约翰•尼尔森 (John Nelson) 将亮度加到白色，增添光的碎片。
Some of the film was shot at Lake Tahoe's surrounding areas and Kern County.	这部电影的部分内容是在太浩湖 (Lake Tahoe) 的周边地区和克恩郡 (Kern County) 拍摄。
The "falling" scene was partially shot at the Los Angeles Bank of America, while Cage was placed on a moving rig over a bluescreen.	「坠落」的场景部分是在洛杉矶美国银行拍摄的，而凯奇则在蓝幕上方的移动钻机上。
Ryan's death scene was filmed on Old Mill Road in Crestline, California.	莱恩的死亡场景是在加州克雷斯特莱恩 (Crestline) 的 Old Mill Road 拍摄。
The library scenes were shot at San Francisco Public Library.	图书馆场景是在旧金山公立图书馆 (San Francisco Public Library) 拍摄。
For angel scenes shot at Malibu Beach, though the characters are not physical beings, it was decided that the angels would have briefly visible footprints to avoid the perception that the sand was too hard to leave imprints.	对于在马里布海滩 (Malibu Beach) 拍摄的天使场景，虽然角色不是有形存在体，但决定天使会有短暂的可见脚印，以避免人们认为沙子太难留下印记。
Thus, Nelson erased the footprints soon after they are first seen.	因此，尼尔森 (Nelson) 在第一次看到脚印后不久就把它们抹去了。
The score was composed by Gabriel Yared, often using three notes to convey ascent.	电影配乐由盖布瑞·雅德 (Gabriel Yared) 作曲，通常使用三个音符来传达上天堂。
Pop synthesizers, pianos and strings were used for the three-note compositions where the angels observe Los Angeles, where the child in the prologue dies and where Seth experiences Maggie's despair, respectively.	在天使观察洛杉矶、序幕中的孩子死亡和赛斯分别经历玛姬的绝望等三段场景中使用流行合成器、钢琴及弦乐作为配乐。
Yared also employed violins and celli, sometimes using one to accompany a line of voice-over dialogue and another for follow-up dialogue.	雅德还使用小提琴和大提琴，有时使用一把小提琴伴奏一行旁白对话，另一把伴奏后续对话。
With the entry of Japan into the war, Fairley flew to Java in January 1942.	随着日本参战，费尔利 (Fairley) 于 1942 年 1 月飞往爪哇 (Java)。
Fairley was well aware that Java produced 90% of the world's supply of quinine and that the implications would be serious if Java was lost.	费尔利很清楚，爪哇生产世界上 90% 的奎宁供应，如果爪哇沦陷，影响将极严重。
He arranged for the purchase of all available stocks of quinine, some 120 long tons (120 t).	他安排购买所有可用的奎宁库存，约 120 长吨 (120 t)。
Fairley was informed that the quinine had been loaded on board two ships.	费尔利被告知奎宁已被装载在两艘船上。
One was never seen again.	其中一艘船再也没见过。
The other, the SS Klang, reached Fremantle in March.	另一艘船是党卫军巴生号 (SS Klang)，于三月抵达弗里曼特尔 (Fremantle)。
Although 20 long tons (20 t) of quinine was loaded on board, it was apparently unloaded when the ship stopped at Tjilatjap, possibly due to fifth columnists.	虽然船上装载了 20 长吨 (20 t) 奎宁，但当船停在 Tjilatjap 时，显然被卸货了，嫌疑人可能是第五纵队成员。
Thus, none of the shipment reached Australia.	因此，没有一批奎宁到达澳大利亚。
Fairley himself departed Java with the I Corps staff on the transport Orcades on 21 February 1942 shortly before Java fell.	费尔利本人于 1942 年 2 月 21 日与第一军团参谋人员在爪哇沦陷前不久乘坐运输队一起离开爪哇。
In General Sir Thomas Blamey's reorganisation of the Australian Army in April 1942, Fairley was appointed director of medicine at Allied Land Forces Headquarters (LHQ) in Melbourne.	1942 年 4 月，托马斯·布莱梅 (Thomas Blamey) 爵士对澳大利亚陆军进行了重组，费尔利被任命为墨尔本盟军陆军总部 (LHQ) 医学主任。
Fairley was soon facing a series of medical emergencies caused by the Kokoda Track campaign.	费尔利很快就面临由科科达小径战役 (Kokoda Track campaign) 引起的一系列医疗紧急情况。
An epidemic of bacillary dysentery was headed off by Fairley's decision to rush all available supplies of sulphaguanadine to New Guinea.	由于费尔利决定将所有可用的磺胍定 (sulphaguanadine) 供应紧急运往新几内亚，阻止了杆菌性痢疾的流行。
On Fairley's advice every man who complained of diarrhoea was given the drug and the epidemic was brought under control in ten days.	由于费尔利决定将所有可用的磺胍定 (sulphaguanadine) 供应紧急运往新几内亚，阻止了杆菌性痢疾的流行。
But Fairley's main concern was malaria.	但费尔利主要关心的是疟疾。
Despite the experience with malaria in the Middle East, most of the troops had a poor understanding of anti-malaria precautions and few medical officers had encountered the disease.	尽管大多数部队在中东有疟疾方面的经验，但对抗疟疾预防措施知之甚少，很少有医务人员遇到过这种疾病。
In combination with critical shortages of drugs and anti-malarial supplies such as netting, insecticides and repellents, the result was a medical disaster.	再加上蚊帐、杀虫剂和驱虫剂等药物和抗疟疾用品严重短缺，结果是一场医疗灾难。
In the 13-week period from 31 October 1942 to 1 January 1943, the Army reported 4,137 battle casualties, but 14,011 casualties from tropical diseases, of which 12,240 were from malaria.	在 1942 年 10 月 31 日至 1943 年 1 月 1 日的 13 周内，陆军报告 4,137 名战斗伤亡，但 14,011 人死于热带疾病，其中 12,240人 死于疟疾。
The government grimly contemplated disbanding divisions to replace malaria casualties.	政府严厉考虑解散各部门以取代疟疾伤亡。
"Our worst enemy in New Guinea," General Blamey declared, "is not the Nip—it’s the bite."	布莱梅将军宣称，「我们在新几内亚最大的敌人，不是日本人，而是咬人。」
This caused Blamey to despatch a medical mission headed by Fairley to the United States and the United Kingdom in September 1942 to present the Army's case for a more adequate and equitable share of anti-malarial supplies.	这导致布莱梅于 1942 年 9 月派遣了一支由费尔利率领的医疗团前往美国和英国，向陆军提出更充分、更公平地分配抗疟疾物资的理由。
Illinois farmer David Johnson built his 31-foot-tall (9.4 m) goat tower in Shelby County, near Findlay, after seeing an article on Fairview in the magazine Decanter.	伊利诺伊州 (Illinois) 农民 David Johnson 在芬德利 (Findlay) 附近的谢尔比郡 (Shelby County) 建造了他的31英尺高 (9.4米) 的山羊塔，他在《品醇客》(Decanter) 杂志上看到了一篇关于 Fairview 的文章。
Another goat tower was built in the outdoor-seating area of Silky O'Sullivan's bar in Memphis, Tennessee on Beale Street.	另一座山羊塔建在田纳西州孟菲斯市区比尔街 (Memphis, Tennessee on Beale Street) 的 Silky O'Sullivan 酒吧的户外座位区。
In a Waunakee, Wisconsin goat petting zoo, a goat tower was built by the Endres family.	在威斯康星州 Waunakee 的山羊宠物动物园，Endres 家族建造了一座山羊塔。
The tower was designed in a Bavarian style to match other buildings of the area.	为了匹配该地区的其他建筑，该塔的设计采用巴伐利亚风格。
The owners claim it is the fifth goat tower ever constructed after the ones in Fairview, the “Tower of Baaa” in Findlay, Memphis, and Ekeby.	业主声称这是继 Fairview、Findlay、Memphis 和 Ekeby 的「Tower of Baaa」之后建造的第五座山羊塔。
Life at the Bottom has received mostly positive reviews.	《底层生活》(Life at the Bottom) 获得了大多推崇的评价。
Gregory Schneider of the Topeka Capital-Journal called the collection "the best exploration of the problems of poverty ever written." America magazine writer, Peter Heinegg, considered the essays to be a "barrage of breathtakingly horrible true-life...stories", but he said that Dalrymple puts too much of his personal "snorting indignation" into the text without letting the reader draw their own conclusions.	《托彼卡首府日报》(Topeka Capital-Journal) 的 Gregory Schneider 称该集是「有史以来对贫困问题的最佳探索」。美国杂志作家 Peter Heinegg 认为这些文章是「令人叹为观止的可怕真实生活的弹幕......故事」，但他说，Dalrymple 将太多他个人的「嗤之以鼻的愤慨」放入内文中，而没有让读者得出自己的结论。
He ended by saying, "Dalrymple's case sounds like a paranoid tirade or perverse tribute, but it is at least partially redeemed by the barrage of breathtakingly horrible true-life (one assumes) stories that this very angry doctor tells...to bolster it." John Clark of Liberty magazine called it "so compelling...that I read it cover to cover in a day's time—and later reread it twice."	他最后说：「Dalrymple的案件听起来像是偏执狂的长篇大论或反常的致敬，但它至少部分地被这个非常愤怒的医生讲述的令人叹为观止的可怕的真实生活 (人们假设) 故事所救赎......以加强它。」《自由》(Liberty) 杂志的 John Clark 称其为「如此引人注目......我在一天的时间内一遍又一遍地读了它-后来又重读了两遍。」
Thomas Sowell, a pundit and social critic, described it as "brilliant and insightful" in Capitalism magazine and "an insightful and devastating eyewitness account of the white underclass in Britain" in the Jewish World Review.	权威人士和社会评论家 Thomas Sowell 在《资本主义》(Capitalism) 杂志上将其描述为「辉煌而富有洞察力」，并在《犹太世界评论》 (Jewish World Review) 上称其为「对英国白人下层阶层阶级的深刻而毁灭性的目击者描述」。
Overall, Sowell said that the collection was able to explain that "One of the most telling examples of the social destructiveness of the left's welfare-state vision can be found among the white slum dwellers in Britain." Atlanta Journal-Constitution writer, Theresa K. Weaver, called the collection "saddening, infuriating, and ultimately not terribly empowering", stating that she wishes Dalrymple "might at least offer a few ideas on turning everything around." Arthur Foulkes of the Carolina Journal described it as a "fine book" that "offers much to friends of liberty everywhere." Roger Donway of The Atlas Society considered it to be "one of the most instructive books that I have read in many years".	整体而言，Sowell 说，这些作品集能够解释「左翼福利国家愿景的社会破坏性的最明显的例子之一可以在英国的白人贫民窟居民中找到。」《亚特兰大宪法报》(Atlanta Journal-Constitution) 的作者 Theresa K. Weaver 称该系列「令人悲伤，令人愤怒，最终并不是非常强大」，并表示她希望Dalrymple「至少可以提供一些关于扭转一切的想法」。 《卡罗来纳日报》(Carolina Journal) 的 Arthur Foulkes 将其描述为一本「好书」，「为世界各地的自由朋友提供了很多意涵」。 《阿特拉斯协会》(The Atlas Society) 的 Roger Donway 认为它是「我多年来读过的最具启发性的书之一」。
Stephen Goode, writing for Insight on the News, said that the collection argued its "position brilliantly and with impressive passion".	Stephen Goode 为《新闻透视》(Insight on the News) 撰稿称，该系列「出色地、以令人印象深刻的热情论证了自己的地位」。
The National Observer wrote that it "has much value", if it is taken as an "antidote to fashionable loose thinking".	《国家观察员》(National Observer) 写道，如果该系列被视为「时髦松散思维的解毒剂」，就「具有很大价值」。
Phips arrived back in Boston in the summer of 1688 and was welcomed back as a hero.	Phips 于 1688 年夏天回到波士顿，并受到英雄般欢迎。
His wife seemed very happy to see him.	他的妻子看到他似乎很高兴。
He was celebrated in sermons and at the Harvard college commencement he was compared to Jason fetching the Golden Fleece.	他在布道中受到赞扬，在哈佛大学的毕业典礼上，他被比作 Jason 拿金羊毛。
Andros and Randolph were not so happy to see him and it seems the feeling was mutual.	Andros 和 Randolph 见到他并不那么高兴，似乎这种感觉是相互的。
Almost all of New England was unified in their opposition to Andros and Randolph.	几乎整个新英格兰都团结一致反对 Andros 和 Randolph。
Phips, despite having been captain of Randolph's gunship in 1683-4, does not seem to have carried an association with Randolph in the minds of the people of Massachusetts Bay.	Phip 尽管在 1683-1684 年担任 Randolph 炮舰机的机长，但在麻萨诸塞湾 (Massachusetts Bay) 人民的心目中似乎对 Randolph 没有印象。
Andros swore Phips into his new post in early July, but his council refused Phips' demand that the previously named sheriffs be dismissed.	Andros 使 Phips 在七月初宣誓就职，但 Phips 解雇先前任命的治安官的要求遭议会拒绝。
If Phips had simply wanted a share in the spoils of the Dominion, he might have stuck around and kept his head down.	如果 Phips 只是想分享自治领地的战利品，他可能会留下来且保持低调。
Instead he stayed home in Boston only six weeks before shipping back to London to join with Increase Mather in opposing the Dominion and seeking to restore the original charter.	反而是，他只在波士顿的家中呆了六个星期，然后运回伦敦，与 Increase Mather 一起反对自治领地，并试图恢复原始宪章。
This seems to be the first mention of Phips in Increase Mather's diary or correspondence.	这似乎是在 Increase Mather 的日记或信件中第一次提到 Phips。
Motivated by a shared dislike of Andros, Phips and Increase Mather worked together to bring about his downfall.	在对 Andros 的共同厌恶的驱使下，Phips 和 Increase Mather 共同努力，导致了他的垮台。
After the Glorious Revolution in late 1688 replaced the Catholic James with the Protestant monarchs William III and Mary II, Phips and Mather petitioned the new monarchs for restoration of the Massachusetts charter, and successfully convinced the Lords of Trade to delay the transmission of formal instructions about the change of power to Andros.	1688年末光荣革命 (Glorious Revolution) 以新教君主威廉三世 (William III) 和玛丽二世 (Mary II) 取代天主教的 James 后，Phips 和 Mather 请求新君主恢复马萨诸塞州宪章，并成功地说服贸易局 (Board of Trade) 推迟向 Andros 传递关于权力更迭的正式指示。
Phips returned to Boston in May 1689, carrying proclamations from the king and queen, and found Andros and Randolph had already been arrested in a revolt in Boston.	1689 年 5 月，Phips 带着国王和王后的诏书回到波士顿，发现 Andros 和 Randolph 已经在波士顿的一次叛乱中被捕。
Phips served for a time as an overseer guarding Andros and Randolph in the prison at Castle Island.	Phips 曾一度担任监视者，在城堡岛 (Castle Island) 的监狱里看守 Andros 和 Randolph。
If Paris were worth a mass to Henry IV, Boston was worth a conversion, in the Puritan sense, to William Phips.	如果对亨利四世 (Henry IV) 来说巴黎确实值得举行弥撒，则在清教徒的意义上，波士顿就值得任命给 William Phips。
The turmoil in England and William's accession to the throne had prompted New France's Governor to take advantage of the political turmoil in New England, launching a series of Indian raids across the northern frontier in 1689 and early 1690.	英格兰的动荡和威廉登基促使新法兰西总督利用新英格兰的政治动荡，在 1689 年和 1690 年初发动了一系列印第安人对北部边境的袭击。
When a frontier town in Maine was overrun in early March 1690, the French were perceived as instigators and the provisional government of Massachusetts, began casting about for a major general to lead an expedition against the French in Acadia.	1690 年 3 月初，缅因州 (Maine) 的一个边防城镇被占领，法国人被视为煽动者，马萨诸塞州 (Massachusetts) 临时政府开始寻找一名少将，率领远征阿卡迪亚 (Acadia) 的法国人。
Phips had not demonstrated military interests as a young man.	Phips 年轻时没有展现出对军事有兴趣。
During King Philip's War, when many took up arms, Phips built ships and cut lumber.	在菲利普国王战争 (King Philip's War) 期间，当许多人拿起武器时，Phips 建造了船只并砍伐木材。
John Knepp's journal testifies to Phips constitutional disinterest in military discipline.	John Knepp 的日记证明了 Phips 对军事纪律的漠不关心。
Alongside her acting work, Kapoor has established a career as a designer.	Kapoor 除了她的表演工作，还另辟设计师的职业生涯。
During her five-year association with the retail chain Globus, Kapoor became the first Indian actress to launch her own line of clothing for women; she described the collaboration as being "special" and "reflective of my personal sense of style".	在与零售连锁店Globus的五年合作期间， Kapoor 成为第一位推出自己的女性服装系列的印度女演员。她将这次合作描述为「别树一帜」和「反映了我个人的风格感」。
Her collection made its debut several months later in stores across India, and was well received.	几个月后，她的系列在印度各地的商店首次亮相，并受到好评。
Following the end of her contract with Globus, she expressed a desire to work with a design house to release her clothing line internationally, but later explained that those plans were on hold.	在与 Globus 的合约结束后，她表示希望与一家设计公司合作，在国际上发布她的服装系列，但后来解释说，这些计划被搁置了。
In August 2018, Kapoor collaborated with Lakmé Cosmetics to launch her own line of cosmetics.	2018 年 8 月，Kapoor 与 Lakmé Cosmetics 合作推出了自己的化妆品系列。
In 2009, Kapoor worked with nutritionist Rujuta Diwekar on Don't Lose Your Mind, Lose Your Weight, a book which focused on the principles of healthy eating habits.	2009 年，Kapoor 与营养学家 Rujuta Diwekar 合作出版了《Don't Lose Your Mind, Lose Your Weight》这本书，这本书专注于健康饮食习惯的原则。
Published by Random House Publications, the book was well received by critics, and sold 10,000 copies within its first twenty days.	这本书由兰登书屋出版社 (Random House Publications) 出版，受到评论家的好评，并在前二十天内售出 10,000 册。
A follow-up titled, Women and The Weight Loss Tamasha, was released two years later.	两年后，一本名为《Women and The Weight Loss Tamasha》的后续作品上映。
It addressed the weight loss concerns and eating habits of women in various parts of their life, and featured Kapoor in a voice-over for the audiobook.	内容解决了女性在生活各个阶段的减肥问题和饮食习惯，并在有声读物的旁白中展示 Kapoor。
In February 2013, Kapoor released her autobiographical memoir: The Style Diary of a Bollywood Diva.	2013年2月，Kapoor 出版自传回忆录《The Style Diary of a Bollywood Diva》。
Co-written alongside Rochelle Pinto, it became the first book to be launched under the Shobhaa De imprint of Penguin Books—a set of series that included celebrity memoirs, guides and biographies.	Kapoor 与 Rochelle Pinto 合着，成为第一本以企鹅出版集团 (Penguin Books) 的Shobhaa De 印记推出的书，该系列包括名人回忆录、指南和传记。
In a review published by Mint, Shefalee Vasudev criticised the writing style as "too-breezy" but further stated that it is "a well-produced book, reproducing chirpy little post-it notes and diet charts, punctuated with Bebo's stunning pictures from her private albums to fashion magazine covers." Later that year, she collaborated with Diwekar for the third time on The Indian Food Wisdom and The Art of Eating Right, a documentary film about nutrition.	在 Mint 发表的一篇评论中，Shefalee Vasudev 批评这种写作风格「太轻快」，但进一步表示这是「一本制作精良的书，再现了叽叽喳喳的小便利贴和饮食图表，穿插着 Bebo 从她的私人专辑到时尚杂志封面的惊人照片。」同年晚些时候，她第三次与Diwekar合作拍摄了关于营养纪录片的《The Indian Food Wisdom》和《The Art of Eating Right》。
During her years in the film industry, Kapoor has been actively involved in promoting children's education and the safety of women.	在电影业的几年里，Kapoor 一直积极参与促进儿童教育和妇女安全。
In June 2010, she took part in the international campaign 1GOAL Education for All, and was appointed ambassador for the Shakti Campaign—a project launched by NDTV to combat violence against women—in commemoration of the 100th anniversary of International Women's Day.	2010 年 6 月，她参加由 NDTV 发起「1GOAL 全民教育」国际运动，并被任命为 Shakti 运动的大使，此运动旨在打击暴力侵害妇女行为，以纪念国际妇女节 100 周年。
Two years later, Kapoor launched Channel V's anti-rape mobile app 'VithU'; she stated that with an increasing amount of violence against women in India, "[i]t [was] important for actors to stand up for issues because they can reach out to a lot of people."	两年后，Kapoor 推出了第五频道的反强奸移动应用程式「VithU」；她说，随着印度针对妇女的暴力事件越来越多，「对于行动者来说，挺身而出解决问题非常重要，因为他们可以接触到很多人。」
In January 2014, Kapoor began working with UNICEF to advocate the education of girls and increase quality based education in India.	2014 年 1 月，Kapoor 开始与联合国儿童基金会合作，宣导印度女童教育，提高优质教育水准。
Speaking of her association, she expressed hope in creating places "where children feel safe and secure, and where interactive and creative tools are used to ensure that children are happy and learning." During the first year, Kapoor visited schools in the states of Rajasthan and Maharashtra where she interacted with students and participated in fundraising events hosted by the Kasturba Gandhi Balika Vidyalaya organisation in the Jalna district.	在谈到她的协会时，她表示希望创造「孩子们感到安全和有保障的地方，以及使用互动和创造性工具来确保孩子们快乐和学习的地方。」在第一年，Kapoor 造访拉拉贾斯坦 (Rajasthan) 和马哈拉施特拉邦 (Maharashtra) 的学校并且与学生互动，也参加了由贾尔纳 (Jalna ) 区 Kasturba Gandhi Balika Vidyalaya 组织主办的筹款活动。
Along with UNICEF India's Goodwill Ambassador (Sharmila Tagore), Kapoor hosted a charity dinner to help raise awareness for the development of underprivileged kids, and launched the 'Child-Friendly School and Systems' (CFSS) package.	Kapoor 与联合国儿童基金会 (UNICEF) 驻印度亲善大使 Goodwill Ambassador (Sharmila Tagore) 一起举办了慈善晚宴，协肋提高对贫困儿童发展的认识，并推出了「儿童友好学校和系统」(Child-Friendly School and Systems, CFSS) 一系列计划。
She later donated an equivalent amount of the funds raised during a joint initiative by UNICEF and Groupon for a higher-quality learning environment in Indian schools.	后来，她捐赠了在联合国儿童基金会 (UNICEF) 和 Groupon 联合倡议期间筹集的等量资金，用于在印度学校创造更高品质的学习环境。
The following year, she awarded 31 students and 5 teachers for their contribution towards the field of education in Chhattisgarh at the concluding ceremony of Child Rights Protection week.	次年，她在儿童权利保护周的闭幕式上表彰了31名学生和5名教师，以表彰他们对恰蒂斯加尔邦 (Chhattisgarh) 教育领域的贡献。
In the Bahamas after the storm, a boat sailed from Nassau to deliver food and building materials to Eleuthera.	在巴哈马群岛，风暴过后，一艘运送食物和建筑材料的船从拿骚 (Nassau) 驶向伊柳塞拉岛 (Eleuthera)。
After the storm, the National Guard offered shelters for at least 400 homeless residents in Stuart.	风暴过后，国民警卫队为斯图尔特 (Stuart) 的至少 400 名无家可归的居民提供庇护所。
Of the 7,900 families adversely affected by the hurricane, 4,325 required assistance from the American Red Cross.	有 7,900 个家庭受到飓风不利的影响，其中 4,325 个家庭需要美国红十字会的援助。
Farmers in Texas, also affected by a major hurricane, requested growers in Florida wait 15 days so they could sell their citrus crop that fell.	德克萨斯州 (Texas) 的农民也受到一场大飓风的影响，他们要求佛罗里达州的种植者等待 15 天，让他们可以出售他们倒下的柑橘作物。
The damaged dam near Tampa initially resulted in waters from the Hillsborough River being pumped into the city's water treatment plant, and a new dam was eventually built in 1944.	坦帕 (Tampa) 附近受损的大坝最初导致希尔斯伯勒河 (Hillsborough River) 的水流入该市的水处理厂，最终于 1944 年建造了一座新大坝。
After starring in a commercial by Mr. Burns for the Springfield Nuclear Power Plant, Homer decides to be an actor.	荷马 (Homer) 主演了郭董 (Burns) 为内糊核电站 (Springfield Nuclear Power Plant) 的商业广告后，决定成为一名演员。
As he fills out a Screen Actors Guild form at home, Lisa points out that he has only written his middle initial, J, in the blank for his middle name.	当他在家里填写电影演员工会表格时，莉莎 (Lisa) 指出他只在中间名的空白处写下了他的中间名首字母 J。
Neither Homer nor Grampa knows that name, but Grampa takes Homer to a farm where Mona, Grampa's wife and Homer's mother, spent some time during her days as a hippie.	荷马和荷熊 (Grampa) 都不知道这个名字，但荷熊把荷马带到了一个农场，荷熊的妻子、荷马的母亲莫娜 (Mona) 在那里装作嬉皮度过了一段时间。
The farm is run by two middle-aged hippies, Seth and Munchie, who were friends of Mona; they point out a mural that she painted based on an incident at Woodstock, which is dedicated to Homer and reveals his middle name as Jay.	农场由两个中年嬉皮塞斯 (Seth) 和麦奇 (Munchie) 经营，他们是莫娜的朋友。他们指出她根据伍德斯托克 (Woodstock) 的一次事件绘制的壁画中有荷马的中间名杰伊 (Jay)，该壁画是献给他的。
Seeing how carefree his life would have been as a hippie, Homer decides to become one.	荷马看到嬉皮的生活是多么无忧无虑，决定成为嬉皮。
He dons a dirty old poncho left behind by Mona and begins to carry a frisbee, but is dismayed to learn that Seth and Munchie are running an organic juice company at the farm.	荷马穿上了莫娜留下的一件肮脏的旧雨披，开始携带飞盘，但得知赛斯和蒙奇在农场经营一家有机果汁公司时，他感到沮丧。
He persuades them to accompany him on a "freak-out" ride through Springfield, disrupting the citizens' daily lives with silly antics.	荷马说服赛斯和蒙奇陪他一起在春田镇 (Springfield) 进行「疯狂」的旅程，用愚蠢的滑稽动作扰乱了市民的日常生活。
When the three return to the farm afterward, though, they find that Homer's frisbee has jammed the juicing machinery and caused the loss of an entire shipment of the farm's products.	然而，当三人回到农场后，他们发现荷马的飞盘卡住了榨汁机械，并导致整个农场产品的运输损失。
Seth and Munchie angrily order Homer to leave.	赛斯和蒙奇愤怒地命令荷马离开。
To set things right, Homer sneaks back to the farm at night, picks and processes all the vegetables he can find, and delivers the juice shipment to Springfield.	为了把事情做好，荷马晚上偷偷溜回农场，挑选并处理了他能找到的所有蔬菜，然后将果汁运到春田镇。
In so doing, he unknowingly harvests a hidden field of peyote, which Seth and Munchie had intended for their personal use as recreational drugs.	在过程中，荷马在不知不觉中采收一片隐藏的乌羽玉田地，这是赛斯和蒙奇打算作为娱乐性毒品供他们个人使用的。
The juice causes intense psychedelic hallucinations in those who drink it, and the police quickly trace it to the farm and move in to arrest Homer, Seth, and Munchie.	喝这种果汁的人会产生强烈的迷幻幻觉，员警迅速追踪到农场并进入逮捕荷马、赛斯和蒙奇。
Homer defends Seth and Munchie by placing himself in the officers' path, reminding them of the morals and values from the 1960s, and placing a flower in the barrel of each officer's rifle.	荷马为赛斯和蒙奇辩护，将自己假想是警官上，提醒他们 1960 年代的道德和价值观，并在每个警官的步枪枪管中放置一朵花。
When Chief Wiggum fires, Homer ends up hospitalized with one of the flowers lodged in his skull.	当维古姆 (Wiggum) 警长开枪时，荷马最终住院，其中一朵花卡在他的头骨里。
"D'oh-in' in the Wind" was written by Donick Cary and directed by Mark Kirkland and Matthew Nastuk.	《D'oh-in' in the Wind》由 Donick Cary 编剧，Mark Kirkland 和 Matthew Nastuk 执导。
It was first broadcast on the Fox network in the United States on November 15, 1998.	这一集于 1998 年 11 月 15 日在美国福克斯电视网首次播出。
The idea for the episode was pitched by Cary, who thought it would be fun to see the citizens of Springfield hallucinating.	这一集的想法是由卡里 (Cary) 提出的，他认为看到春田镇的公民产生幻觉会很有趣。
He then fleshed it out, forming its current iteration.	然后，他充实了内容，形成目前的反覆桥段。
The episode features the revelation of Homer's middle name, "Jay", which is a "tribute" to animated characters such as Bullwinkle J. Moose and Rocket J. Squirrel from The Rocky and Bullwinkle Show who got their middle initial from Jay Ward.	这一集的特色是荷马的中间名「杰伊」的启示，这是对动画人物的「致敬」，如《鹿兄鼠弟》(The Rocky and Bullwinkle) 中的 Bullwinkle J. Moose 和 Rocket J. Squirrel，他们从 Jay Ward 沿用他们的中间名首字母。
The name was pitched on for three days by the writers.	这个名字被作家们用了三天。
DE 62 heads southeast from DE 2 (Kirkwood Highway) on the Newport Gap Pike, a two-lane undivided road.	DE 62 从 DE 2 (柯克伍德高速公路 (Kirkwood Highway)) 沿着 Newport Gap Pike 向东南方向延行，这是一条无左右行车线的双车道道路。
Newport Gap Pike continues northwest past this intersection as DE 41.	Newport Gap Pike 继续向西北方向延行，经过这个交叉路口成为 DE 41。
The road crosses Old Capitol Trail, which marks the official beginning of the route.	这条路穿过旧国会大厦小径，这标志着路线的正式开始。
DE 62 heads through suburban residential and commercial developments, crossing the Wilmington and Western Railroad and CSX's Philadelphia Subdivision railroad line.	DE 62 穿过郊区住宅和商业开发区，穿过威尔明顿和西部铁路 (Wilmington and Western Railroad) 以及 CSX 的费城分区 (Philadelphia Subdivision) 铁路线。
The road passes more development and reaches the community of Belvedere, where it comes to a ramp from southbound DE 141.	这条路经过更多的开发区，到达 Belvedere 社区，在此处衔接南行的 DE 141 的坡道。
At this point, the route turns east onto Boxwood Road, a four-lane divided highway, with Newport Gap Pike continuing south to provide access to southbound DE 141.	此时，路线向东转入 Boxwood Road 四车道高速公路，Newport Gap Pike 继续南行，提供通往南行 DE 141 的通道。
DE 62 passes over the DE 141 freeway and intersects Centerville Road, which provides access to and from northbound DE 141.	DE 62 穿过 DE 141 高速公路，与提供往返于北行 DE 141 通道的森特维尔路 (Centerville Road) 相交。
Past this intersection, the road becomes two lanes and undivided, passing to the south of the former Wilmington Assembly plant used by General Motors and to the north of residential subdivisions.	经过这个十字路口，道路变成无左右行车线的两条车道，穿过通用汽车公司 (General Motors) 使用的前威尔明顿装配厂 (Wilmington Assembly) 的南部和住宅区的北部。
DE 62 continues through more residential neighborhoods, passing to the north of the Conrad Schools of Science, and reaches an intersection with DE 4, where DE 62 signage ends.	DE 62 继续穿过更多的住宅区，经过康拉德科学学院 (Conrad Schools of Science) 的北部，到达与 DE 4 的交叉路口，DE 62 标志于此处结束。
The route officially continues east on Middleboro Road through more neighborhoods, intersecting Dupont Road before coming to a dead end.	这条路线正式沿着米德尔伯勒路 (Middleboro Road) 向东延伸，穿过更多的社区，与杜邦路 (Dupont Road) 相交，然后走到死胡同。
DE 62 has an annual average daily traffic count ranging from a high of 23,750 vehicles at the intersection of Newport Gap Pike and Boxwood Road to a low of 283 vehicles at the eastern terminus.	DE 62 的年平均每日交通量从 Newport Gap Pike 与 Boxwood Road 交叉口的 23,750 辆车到东部终点站的 283 辆车不等。
None of DE 62 is part of the National Highway System.	DE 62 都不是国家公路系统的一部分。
What is now the Newport Gap Pike portion of DE 62 was originally chartered as the Gap and Newport Turnpike in 1808, an extension of the 1807-chartered turnpike in Pennsylvania that was to run from Gap, Pennsylvania, southeast to Newport, Delaware.	DE 62 现在的 Newport Gap Pike 部分最初于 1808 年被特许为 Gap and Newport Turnpike，这是宾夕法尼亚州 1807 年特许收费公路的延伸，该收费公路将从宾夕法尼亚州的 Gap 向东南延伸至特拉华州纽波特 (Newport, Delaware)。
By 1920, what is now DE 62 existed as a county road.	到 1920 年，现在的 DE 62 作为县道存在。
The Newport Gap Pike portion of the route became a state highway by 1925.	到 1925 年，该路线的 Newport Gap Pike 部分成为一条国道。
This state highway became a part of DE 41 by 1936, when Delaware designated its state highways.	到 1936 年，这条州际公路成为 DE 41 的一部分，当时特拉华州指定为州道。
In 1946, Boxwood Road was improved to provide access to the new General Motors plant along the road.	1946 年，Boxwood Road 路进行了改善，可沿路提供通往新通用汽车工厂的通道。
By 1981, DE 62 was designated onto its current alignment, with the Newport Gap Pike section replacing a portion of DE 41.	到 1981 年，DE 62 被指定为目前的路线，Newport Gap Pike 部分取代了 DE 41 的一部分。
In a world where people with superpowers (known as "Quirks" (個性 Kosei)) are the norm, Izuku Midoriya has dreams of one day becoming a Hero, despite being bullied by his classmates for not having a Quirk.	在人拥有超能力 (被称为「Quirks」(个性 Kosei)) 是常态的世界里，绿谷出久 (Izuku Midoriya) 梦想着有一天成为英雄，尽管他的同学因为没有 Quirk 而被欺负。
After being the only one to try and save his childhood bully Katsuki Bakugo from a villain, Japan's greatest Hero All Might saves him and bestows upon him All Might's own Quirk "One For All".	在成为唯一试图从恶棍手中拯救他童年恶霸爆豪胜己 (Katsuki Bakugo) 的人之后，日本最伟大的英雄欧尔麦特 (All Might) 拯救了他，并赋予欧尔麦特自己的 Quirk「One For All」给他。
The story follows Izuku's entrance into U.A. High School (雄英高校 Yūei Kōkō), a school for training the next generation of superheroes.	故事讲述了绿谷进入美国高中 (雄英高校 Yūei Kōkō) 的故事，这是一所培养下一代超级英雄的学校。
Izuku and his new friends try to balance their Hero training with ordinary school duties.	绿谷和他的新朋友试图在他们的英雄训练与普通的学校职责之间取得平衡。
However, the League of Villains, an evil organization established by All Might's archenemy All For One, has plans to destroy all Heroes and take control of society.	然而，由欧尔麦特的宿敌 All For One 建立的邪恶组织反派联盟计划摧毁所有英雄并控制社会。
My Hero Academia is a Japanese manga series written and illustrated by Kōhei Horikoshi.	《我的英雄学院》是一部日本漫画系列，由堀越浩平创作和插画。
It originated from the one-shot My Hero (僕のヒーロー Boku no Hīrō), which Horikoshi wanted to turn into a series following the end of Barrage.	此漫画起源于单镜头的 My Hero (仆のヒーロー Boku no Hīrō)，堀越想在弹幕结束后将其变成一个系列。
It began its serialization in the manga magazine Weekly Shōnen Jump on July 7, 2014.	此漫画于 2014 年 7 月 7 日开始在漫画杂志《周刊少年 Jump》上连载。
As of August 2, 2019, the series has been collected into twenty-four tankōbon volumes.	截至 2019 年 8 月 2 日，该系列已被收集成 24 卷。
The series is licensed for the English-language release in North America by Viz Media, who published the first volume on August 4, 2015.	该系列由 Viz Media 授权在北美发行英文版，Viz Media 于 2015 年 8 月 4 日出版了第一卷。
As the series is published in Japan, it is also released simultaneously in English digitally by Viz Media's Weekly Shōnen Jump.	该系列除了在日本发行外，同时也由 Viz Media 以英文发行数位版少年跳跃周刊。
As of August 7, 2018, 14 volumes have been released.	截至 2018 年 8 月 7 日，一共推出 14 集。
Shueisha began to simulpublish the series in English on the website and app Manga Plus in January 2019.	集英社于 2019 年 1 月起在其网站与 app Manga Plus 同步发行英文版。
A spin-off series entitled My Hero Academia Smash!!	另外衍生出《我的英雄学院 Smash!!》系列。
by Hirofumi Neda started in the Jump+ digital app on November 9, 2015 and finished on November 6, 2017.	作者为根田启史，数位版于 2015 年 11 月 9 日开始于 Jump+ app 开始连载，于 2017 年 11 月 6 日结束。
Five tankōbon volumes were released as of November 2017.	截至 2017 年 11 月，共推出 5 册单行本。
The series has been licensed by Viz Media.	该系列由 Viz Media 取得授权。
Another spin-off series, My Hero Academia: Vigilantes, began being published by Weekly Shōnen Jump in 2017.	其他衍生作品《正义使者－我的英雄学院之非法英雄》，于 2017 年起在少年跳跃周刊开始连载。
The series is licensed for the English-language release in North America by Viz Media.	由 Viz Media 取得该系列英文版的北美发行权。
The first volume was released in English on July 3, 2018.	英文版第一册于 2018 年 7 月 3 日出版。
On 30 July 1502, during his fourth voyage, Christopher Columbus arrived at Guanaja, one of the Bay Islands off the coast of Honduras.	1502 年 7 月 30 日，克里斯多福・哥伦布来到瓜纳哈，这是宏都拉斯海岸诸岛的其中之一。
He sent his brother Bartholomew to scout the island.	哥伦布派他弟弟巴托罗谬到岛上进行探查。
As Bartholomew explored the island with two boats, a large canoe approached from the west, apparently en route to the island.	当巴托罗谬带着两艘船探索该岛时，有艘大型独木舟自西方驶来，显然是要往岛上前进。
The canoe was carved from one large tree trunk and was powered by twenty-five naked rowers.	那艘独木舟以一棵大树刻成，由 25 个裸体划船手划动。
Curious as to the visitors, Bartholomew Columbus seized and boarded it.	出自造访者的好奇，巴托罗谬拦截并登上独木舟。
He found it was a Maya trading canoe from Yucatán, carrying well-dressed Maya and a rich cargo that included ceramics, cotton textiles, yellow stone axes, flint-studded war clubs, copper axes and bells, and cacao.	他发现这是艘来自犹加敦的马雅贸易船，船上有精心打扮的马雅人，还有一个装满瓷器、绵织品、黄石斧、以燧石装饰的作战用棍棒、铜斧、钟、可可等物品的货箱。
Also among the cargo were a small number of women and children, probably destined to be sold as slaves, as were a number of the rowers.	货物之外，还有几个女人和孩童，可能是被抓来的奴隶，也充当划船手。
The Europeans looted whatever took their interest from amongst the cargo and seized the elderly Maya captain to serve as an interpreter; the canoe was then allowed to continue on its way.	这些欧洲人把他们看上的货物抢走，抓了一名老马雅船长当通译，然后放走独木舟，让它继续旅程。
This was the first recorded contact between Europeans and the Maya.	这是史上首次欧洲人与马雅人接触的记录。
It is likely that news of the piratical strangers in the Caribbean passed along the Maya trade routes – the first prophecies of bearded invaders sent by Kukulkan, the northern Maya feathered serpent god, were probably recorded around this time, and in due course passed into the books of Chilam Balam.	在加勒比海出现陌生海盗的消息，沿着马雅贸易路径传递；由马雅北边羽蛇神库库尔坎首次做出的胡子入侵者预言，也差不多是在此时写入了 奇兰巴兰之书。
In 1511 the Spanish caravel Santa María de la Barca set sail along the Central American coast under the command of Pedro de Valdivia.	1511 年，西班牙帆船「巴卡的圣玛利亚号」，在佩德罗・德・巴尔狄维亚指挥下，沿中美洲海岸航行。
The ship was sailing to Santo Domingo from Darién to inform the colonial authorities there of ongoing conflict between conquistadors Diego de Nicuesa and Vasco Nuñez de Balboa in Darién.	该船自达里恩驶向圣多明哥，以向当地殖民统治者通报关于征服者狄亚哥・德・尼古萨与巴斯可・努涅兹・德・巴尔柏之间愈演愈烈的冲突。
The ship foundered upon a reef known as Las Víboras ("The Vipers") or, alternatively, Los Alacranes ("The Scorpions"), somewhere off Jamaica.	这艘船后来在一个称为「毒蛇」或是「蝎子」的暗礁触礁沉没，地点在牙买加附近。
There were just twenty survivors from the wreck, including Captain Valdivia, Gerónimo de Aguilar and Gonzalo Guerrero.	船难中只有 20 人生还，包括船长巴尔狄维亚、杰罗尼莫・德・阿吉拉尔、贡萨罗・格雷洛。
They set themselves adrift in one of the ship's boats, with bad oars and no sail; after thirteen days during which half of the survivors died, they made landfall upon the coast of Yucatán.	他们坐着船上的小艇在海上漂流，桨坏了，也没有船帆；13 天后，一半的生还者也死了。最后在犹加敦海边上岸。
There they were seized by Halach Uinik, a Maya lord. Captain Vildivia was sacrificed with four of his companions, and their flesh was served at a feast.	这些人被马雅贵族哈拉奇・乌以尼克捕获。巴狄维亚船长犠牲了四个同伴才活下来，他们的肉被煮来吃。
Aguilar and Guerrero were held prisoner and fattened for killing, together with five or six of their shipmates.	阿吉拉尔、格雷洛和另外五六个人被关起来，养肥了待宰。
Aguilar and Guerrero managed to escape their captors and fled to a neighbouring lord who was an enemy of Halach Uinik; he took them prisoner and kept them as slaves.	阿吉拉尔和格雷洛成功越狱，逃到邻近与哈拉奇・乌以尼克为敌的贵族那里；但两人被当做囚犯，成了奴隶。
After a time, Gonzalo Guerrero was passed as a slave to the lord Nachan Can of Chetumal.	不久后，贡萨罗・格雷洛以奴隶之身，被送到切图马尔贵族纳坎・坎处。
Guerrero became completely Mayanised and served his new lord with such loyalty that he was married to one of Nachan Chan's daughters, Zazil Ha, by whom he had three children.	格雷洛完全马雅化，忠心侍奉新主人，后来取了纳坎・坎的女儿莎吉尔・哈，生了三个孩子。
The Acra was not the first Hellenistic stronghold in Jerusalem.	阿克拉不是耶路撒冷头一个希腊要塞。
Sources indicate that an earlier citadel, the Ptolemaic Baris, had also occupied a location overlooking the Temple's precincts.	资料指出有一个更早的要塞托勒密堡垒，曾经占有一个可以监视神庙区域的地点。
Although the exact location of the Baris is still debated, it is generally accepted to have stood north of the Temple Mount on the site later occupied by the Antonia Fortress.	该堡垒实际所在地点虽然仍在争议之中，但大家都同意的说法，是它位于神庙山的北侧，后来该地成为安东尼亚要塞所在地。
The Baris fell to Antiochus III at the turn of the 2nd century BCE and is absent from all accounts of the Maccabean Revolt.	在进入西元前 2 世纪时，该堡垒落入安条克三世之手，而且在马加比起义中的所有述说中都未曾提及。
Despite the narratives which have the Acra constructed within a very short time-span, it was nevertheless formidable enough to weather long periods of siege.	虽然各种说法都指出阿克拉是在极短时间内建成，但仍然足以抵御长期的围困。
These factors, coupled with references in which the Baris was itself called an acra, have led some to suggest that the Baris and the Acra were in fact the same structure.	因为这些原因，再加上该堡垒也有人称之为一个阿克拉，因此也有人说这两者其实是同一个建筑物。
Although both 1 Maccabees and Josephus seem to describe the Acra as a new construction, this may not have been the case.	虽然马加比一世和约瑟夫斯都把阿克拉当做新建筑物，但事实可能并非如此。
Antiquities of the Jews 12:253 may be translated to give the sense that the "impious or wicked" had "remained" rather than "dwelt" in the citadel, which could be taken to mean that the Acra had been standing before the revolt and that only the Macedonian garrison was new.	犹太古史 12:253 或许会让人以为「亵渎者或恶人」「仍然驻守」而非「住在」该堡垒中，但也可以认为阿克拉早在起义前就已建成，只有马其顿要塞才是新建的。
Koen Decoster proposes that Josephus wrote of "a citadel in the lower part of the city" to an audience that would have been familiar with the Jerusalem of the 1st century CE—a city that did feature two citadels: the Antonia Fortress and the Herodian palace.	柯恩・迪可斯特认为约瑟夫斯写下的「在城市下方的堡垒」，对读者来说可能像西元后第一世纪的耶路撒冷一样熟悉，该城市正好有两座要塞：安东尼亚要塞与希腊神殿。
As Josephus' Roman Jerusalem had already expanded to the higher western hill, "a citadel in the lower city" could have referred to anything located east of the Tyropoeon Valley, including the Antonia which stood north of the Temple and did indeed rise above and dominate it.	约瑟夫斯所写的罗马化耶路撒冷，城区已扩及西边的高丘上，因此「在城市下方的堡垒」指的可能是任何在泰罗边谷东边的地方，包括树立在神庙北方，确实崛起并控制神庙的安东尼亚。
In his view, this is the place Josephus must have had in mind when he wrote of the Acra.	在他看来，这就是约瑟夫斯在撰写阿克拉相关描述时所指的地方。
Opponents of a northern location counter that this site is not supported by the historical sources, and that this would place the Acra away from Jerusalem's population center.	反对北方地点说的人认为，该地点并无历史资料佐证，而且这种说法会使阿克拉远离耶路撒冷人口集中的地区。
Unlike its predecessor and successor citadels, it was not meant as a defence against external threat, but rather to oversee the inhabited Jewish parts of the city, a role incompatible with a proposed northern location.	和之前与之后的要塞不同的是，其建造目的并非用以抵抗外敌，而是要监视市内的犹太人区；如果要塞建在北边的话，就达不到此目的。
The available sources do indicate the Acra stood south of the temple, and because 1 Maccabees is a contemporaneous account of the Maccabean revolt, its account of the Acra (1:35–38) is considered the most reliable.	现有资籵确实指出阿克拉位在神庙南侧，再加上马加比一世是马加比起义同时代的人，因此他对阿克拉的说法 (1:35-38）最为可信。
Josephus provides an unlikely account of the razing of a hill on which the Acra had stood, yet his description of the end of the Great Revolt (70 CE) provides additional evidence for it being located south of the Temple Mount:	约瑟夫斯有个不太可信的说法，说是铲平了阿克拉所在的山头；但他关于大起义 （西元 70 年）结束的说法，倒是为其位在神庙南方提供了额外的证明：
...but on the next day they set fire to the repository of the archives, to Acra, to the council-house, and to the place called Ophlas; at which time the fire proceeded as far as the palace of queen Helena, which was in the middle of Acra;	...但在隔天，有人在藏书阁、阿克拉、议事堂、欧法拉斯等地纵火；当时火势甚至波及阿克拉中的海伦娜皇宫；
— Flavius Josephus, The Wars of the Jews 6:354	－ 弗拉维斯・约瑟夫斯，犹太战役 6:354
As the other buildings mentioned in the account all stood to the south in the Lower City, this also places the Acra there.	在描述中，其他建物都位于下城的南方，也包括阿克拉在内。
This account attests to the persistence of the name "Acra" in this part of Jerusalem many years after Hellenistic rule ended and its citadels had been overthrown, and it can also be seen as referring not to a distinct building but rather to an entire region of the city.	这种说法证实了在犹太区的阿克拉之名，即使在希腊统治结束，其堡垒都被攻破后仍然流传多年；另一佐证是它不只用来指称特定建筑，更是整个城区的代称。
Indeed, several clauses in 1 Maccabees may be read as making a similar point:	确实，马卡比一世的述说中有多个部分都持类似观点：
The "Right Action" official video was released on 7 July 2013, directed by Jonas Odell, and the video for "Love Illumination" was released on 24 July 2013, directed by Tim Saccenti.	「正确行动」的官方影片于 2013 年 7 月 7 日推出，由 Jonas Odell 导演，而「爱之光」影片则于 2013 年 7 月 24 日推出，由 Tim Saccenti 执导。
On YouTube, the "Right Action" music video has received over 3 million views and the "Love Illumination" music video has received over 4 million views.	在 YouTube 上，「正确行动」的 MV 有 300 万次以上观看，而「爱之光」MV 则有超过 400 万次。
The "Evil Eye" official music video was released on 8 September 2013 and was directed by Diane Martel, who is known for directing videos for various Top 3 hits such as "Blurred Lines", "Just Give Me a Reason", "We Can't Stop", and one of the bands' hit singles, "Do You Want To".	「邪恶之眼」官方 MV 于 2013 年 9 月 8 日推出，由 Diane Martel 执导；她也是另外三支热门 MV「模糊界线」、「给我一个理由就好」、「我们停不下来」与该乐团另一支热门单曲「你想要吗」的导演。
The band released the official video for "Bullet" on 18 November 2013 and was directed by Andy Knowles.	该团为「子弹」于 2013 年 11 月 18 日推出另一支官方 MV，由 Andy Knowles 执导。
The official music video for "Fresh Strawberries" was released on 12 March 2014 and was directed by Margarita Louca.	「新鲜草莓」的官方 MV 于 2014 年 3 月 12 日推出，由 Margarita Louca 执导。
The official music video for "Stand on the Horizon" was released on 3 August 2014 and was directed by Karan Kandhari.	「站在地平线上」的官方 MV 于 2014 年 8 月 3 日推出，由 Karan Kandhari 执导。
On 20 August 2013, the band played at Electric Brixton in London, for a crowd of approximately 1,500 fans.	2013 年 8 月 20 日，该团在伦敦的 Electric Brixton 表演，观众人数约有 1,500 人。
The opening song was "Right Action" and the concert featured several songs of the new album.	开场歌曲是「正确行动」，演唱会中也有多首新专辑中的歌曲。
A concert in Glasgow followed on 21 August 2013.	2013 年 8 月 21 日接着在格拉斯哥举办另一场演唱会。
The band went on a world tour until the near end of 2014, performing both regular shows as well as concerts at several music festivals.	该团在 2014 年末之前展开全球巡回，在多个音乐节中举办一般演出或演唱会。
The property has two remaining outbuildings.	那块地上还留有两栋附属建物。
The barn is where Glidden invented his famous improvement on barbed wire.	仓库是 Glidden 发明著名的改良刺铁丝网的地方。
Dubbed "The Winner," his barbed wire became the most popular version of the invention.	他的刺铁丝网又名「胜利者」，变成其发明中最普及的一项。
Barbed wire is considered to be one of the most important factors in American progress and settlement.	刺铁丝网被视为美国拓殖的重要因素之一。
The other outbuilding on the property along historic Lincoln Highway are the remnants of a once dominating windmill.	在那块地上的另一栋建物，就在历史悠久的林肯公路旁，是个曾经风光一时的风车遗址。
Though only the foundation remains, it gives a glimpse of how impressive the structure must have once been.	虽然现在只剩下基座，但可以想见当时的结构有多令人印象深刻。
The Glidden Barn, located to the rear and east of the home, was thought to have been added to the National Register of Historic Places when the original nomination for the house was approved in 1973. However, in the late 1990s, the Illinois Historic Preservation Agency revealed that the nomination included only the house.	Glidden 的仓库位在其住宅后方东边处，一般都以为已在 1973 年其住宅获选登录为国家历史遗迹名单中时，也一同列入；但直到 1990 年代后半，伊利诺州历史保护局才发现，当时列入名单的只有住宅而已。
The Glidden Historical Center initiated the process of adding the barn to the Register.	Glidden 历史中心发起申请，要将仓库也列入名单中。
Those moves were approved by the Illinois Historic Sites Advisory Council in 2002 and the barn officially became part of the National Register.	2002 年时伊利诺州历史遗址顾问委员会批准其申请，仓库正式成为国定古迹。
The barn was built sometime around 1871, possibly even before, and is constructed of the same soft brick that makes up the exterior of the home.	该仓库建于 1871 年前后，可能更早一点，和住宅外墙采用相同的软质砖块建造。
Tradition in the Glidden family holds that the barn, like the house itself, was designed and built by prominent local carpenter Jacob Haish.	由于 Glidden 家族的习惯，其住宅和仓库都由当地十分有名的木匠 Jacob Haish 设计建造。
The famous barn, one of DeKalb County's oldest remaining, stands a full two-stories high, measuring around 50 feet (15 m) tall, with a width of 30 feet (9 m).	这个远近驰名的仓库，是 DeKalb 郡最古老的古迹之一，有整整两层楼高，约 50 呎 (15 公尺)，宽 30 呎 (9 公尺)。
In February 2007 the Glidden Homestead and Historical Center kicked off a fundraising drive.	2007 年 2 月 Glidden 产业与历史中心发起募款活动。
The drive is aimed at raising US$2 million to expand the Joseph F. Glidden House site to include museum space and a media center.	活动目标筹措 2 百万美元，以扩建 Joseph F. Gidden 住宅园区，以包括博物馆空间和媒体中心。
Some of the funds will be used to help restore the barn and expand historical center museum space into the building.	部分款项用于整修仓库，并将历史中心博物馆扩建到建物之中。
The Glidden barn is of pole and beam construction.	Glidden 仓库是梁柱式的结构。
The second-floor interior is dominated by two large transverse wooden beams.	二楼内部主要是两根大型木制横梁。
It is of the three-bay, English tradition, the west bay containing a space for a stairwell leading to a hayloft and seven stalls.	其为英国传统三间式设计，西侧间包括一个通往干草棚和七个马房的楼梯间。
It is constructed of red brick and stands on a foundation of limestone.	在石灰石地基上以红砖搭建。
Glidden's barn took full advantage of the term vernacular; the brick was locally manufactured and the limestone locally quarried.	Glidden 仓库充分就地取材，砖块为当地烧制，石灰石也是在当地采得。
After touring with Something Corporate in January and February 2005, McMahon began playing shows with Jack's Mannequin in March and debuted material from the project.	在 2005 年 1 月与 2 月和义和国乐团巡回演出后，三月起麦马汉开始和 Jack's Mannequin 乐团共演，也首演了专案中的一些素材。
McMahon's backing band, named the Mannequins, consisted of Anderson and Jacques Brautbar on guitar, Jon Sullivan on bass and Jay McMillan on drums.	与麦马汉共演的乐团叫做 Mannequins，由 Anderson 与 Jaques Brautbar 任吉他手，Jon Sullivan 任贝斯手，Jay McMillan 任鼓手。
Anderson studied music with Sullivan at Virginia Commonwealth University; Sullivan had been friends with McMillan for a few years.	Anderson 和 Sullivan 一同在维吉尼亚联邦大学修习音乐，Sullivan 和 McMillan 则是多年好友。
On April 17, Jack's Mannequin's debut album was announced for release in the coming summer through Maverick Records.	4 月 17 日，Jack's Mannequin 宣布将透过小牛唱片公司，于接下来的夏天推出首发专辑。
Another announcement followed four days later, revealing the album's title, Everything in Transit, and the release date of July 12.	四天后又公布了专辑名称「Everything in Transit」，发行日为 7 月 12 日。
In May, the group embarked on a six-week tour to build up hype for the album.	五月时，该乐团开始为期六周的巡回公演，以炒热专辑的声势。
On May 10, "Holiday from Real" was released as a 7" vinyl single, featuring two versions of "Kill the Messenger" (the album version and an acoustic version) as B-sides.	5 月 10 日，「Holiday from Real」专辑以 7 吋单曲黑胶唱片发行，B 面收录两种版本的「Kill the Messenger」(唱片版与不插电版本)
On May 20, two songs were made available for streaming through the band's Myspace account.	5 月 20 日起，两首歌都可在乐团的 MySpace 页面中透过串流收听。
Two days later, it was announced the album's release date was pushed back to August 9 as "Dark Blue" was written and recorded for inclusion on it.	两天后，该团宣布专辑发行日期延后到 8 月 9 日，因为「Dark Blue」已经写好录好，且将收录于专辑内。
Around this time, McMahon started feeling sick while on tour, suffering from chronic fatigue and laryngitis.	就在此时，麦克汉在巡回演出中感到身体不适，苦于慢性疲劳与喉炎。
On May 25, he contacted his doctor, who said he should cancel the following night's show as he could face permanent damage to his voice.	5 月 25 日他去看医生，医生说他应该取消接下来所有的夜间表演，因为这可能永久伤害他的声音。
He met with his doctor who ran some blood tests after seeing McMahon's pale complexion.	医生看到他脸色萎黄，为他抽血检查。
Two days later, during a mastering session for the album, McMahon received a phone call.	两天后，当麦克汉正在进行专辑混音时，接到一通电话。
His doctor said he needed a blood transfusion.	医生说他需要进行输血。
He checked in to the Presbyterian Hospital in New York City, where he was sent directly to the leukemia ward.	他住进纽约市的长老教会医院，立即被送进白血病房。
McMahon spent the next few days waiting for the results of a bone marrow sample taken from his hip.	麦克汉花了几天，等待自臀部抽出的骨髓检验报告。
On June 1, he was diagnosed with acute lymphoblastic leukemia.	6 月 1 日诊断结果出来，是急性淋巴性白血病。
All upcoming tour dates with both Jack's Mannequin and Something Corporate were postponed indefinitely.	所有后续和 Jack's Mannequin 与义和国的演出，都无限期延后。
He flew to Los Angeles and was admitted to the UCLA Medical Center and underwent a first round of chemotherapy.	他飞到洛杉矶，进入 UCLA 医学中心，进行第一轮化疗。
As he was at an unusual age to get cancer, there was a debate whether to put him on an adult regimen or a vigorous pediatric treatment.	由于他这个年纪通常不该得到癌症，因此为了要以成人疗程或少年儿科进行，有过一番争论。
Director Anthony Mandler filmed the music video for "Only Girl (In the World)" at a location two hours from Los Angeles.	导演 Anthony Mandler 在离洛杉矶两小时车程的地方，拍摄「Only Girl (in the World) 」的 MV。
Rihanna told JustJared.com that the video was filmed in a "big landscape" so she was the only person in the frame, echoing the song's title.	蕾哈娜告诉 JustJared.com 说，MV 是在一个「大外景」拍摄的，她是画面中唯一的人，呼应了曲名。
The singer is also "frolicking in a red field and lying in a bed of flowers." The video features large balloons in different colours, a swing hanging from the sky and a tree with multi-colored lights.	歌手也「在一片红色田野间嬉戏，躺在花床上」。影片中有许多不同颜色的大气球，有个从天空垂吊下来的秋千，以及一棵装饰着五彩灯光的树木。
Rihanna's outfits include a mohair sweater, a floral miniskirt and a white-bra-and-boyshorts two-piece.	蕾哈娜穿着一件毛海毛衣、花样迷你裙，两件式的白胸罩与白色四角短裤。
Entertainment Weekly writer Tanner Stransky praised the video's simplicity, noting that it seems "as if Rihanna is speaking directly to you, the viewer, and she is your one and only amid swallowing rolling, beautiful, swallowing landscapes.	娱乐周刊作者 Tanner Stransky 赞许该 MV 的简单，指出「蕾哈娜看来就像直接对着身为观众的你说话，在美丽壮观的风景中，她就是你的唯一。
It's an effect that makes you focus squarely on [Rihanna], who's ensconced in flirty outfits." According to Joyce Lee of CBS, Rihanna appeared to have progressed from the "edgy" music videos of the Rated R singles to a more feminine, colourful tone.	这种效果让你感到，你是直接面对着穿着十分调情的蕾哈娜。 」CBS 的 Joyce Lee 则说，蕾哈娜这支 MV 像是从限制制「边陲」进步到更为女性化，更多彩的调性。
A Mail Online reviewer and Seth Sommerfield of Spin echoed Lee's comments, with the former calling it "beautifully shot" and the latter "whimsical [and] beautiful".	邮报线上的一位评论家说「拍得非常美」，Spin 的 Seth Sommerfield 则评论说「令人暇想且美不胜收」。
The Mail Online reviewer called the video a departure from the "hard-edged, heavier image" music videos of Rated R.	邮报线上的评论，说这支 MV 摆脱了限制级 MV 的「粗糙沉重印象」。
Billboard reviewer Jason Lipshutz described the tree with flashing lights as "surreal imagery."	告示牌评论家 Jason Lipshutz 则说挂满闪耀灯光的树木「带来超现实的映象。」
Rihanna performed "Only Girl (In the World)" and a solo version of "What's My Name?" on Saturday Night Live in New York City on October 30, 2010.	2010 年 10 月 30 日，蕾哈娜在纽约市的周六夜间现场中表演了「Only Girl (In the World)」和「What's My Name?」的独唱版本。
The next day, she flew to London to perform the song on The X Factor.	隔日她飞往伦敦，在 The X Factor 演唱该曲。
Rihanna's dancers had a food fight with cakes and cream while she sang, and the show's producers had only one minute to clear the stage before the weekly elimination results were announced.	蕾哈娜的伴舞在她演唱时，在台上互掷蛋糕和奶油打食物大战；演唱会制作人在宣布当周淘汰名单前，只有一分钟可以清理舞台。
On November 7 she performed the song at the MTV Europe Music Awards in Madrid, wearing a "fairy tale"-inspired ensemble and walking through a set of flowers against a sunset.	11 月 7 日，她在马德里的 MTV 欧洲音乐奖典礼上，穿着「发想自童话故事」的整套服装，从夕阳下的花海中走上舞台演唱本曲。
Two days later, Rihanna sang "Only Girl (In the World)" on the Italian version of The X Factor in a floral-print bikini, boots and a red pigtail.	两天后，蕾哈娜在义大利版的 The X Factor 献唱「Only Girl (In the World)」，穿着印花比基尼、长靴和红辫子。
The next day she flew to France to sing the song on Le Grand Journal, on a set covered with white balloons.	隔天她飞到法国，在 Le Grand Journal 一个铺满白色气球的舞台上演唱该曲。
The singer returned to London on November 11 to record an interview for The Graham Norton Show, which included a live performance of "Only Girl (In the World)".	11 月 11 日，她回到伦敦接受 The Graham Norton Show 专访录影，访问中也演唱了「Only Girl (In the World)」。
Rihanna opened the American Music Awards with a medley of songs from Loud.	蕾哈娜在美国音乐奖开场时演场 Loud 组曲。
She began with an a cappella version of "Love the Way You Lie (Part II)", sitting on a stylized tree of lights above "a field of sable-colored blades of grass." Rihanna then sang a solo version of "What's My Name?" and a short version of "Only Girl (In the World)". According to Mawuse Ziegbe of MTV News, the singer "kicked up the island theme" as drummers in tribal dress circled her.	She began with an a cappella version of "Love the Way You Lie (Part II)", sitting on a stylized tree of lights above "a field of sable-colored blades of grass." Rihanna then sang a solo version of "What's My Name?" and a short version of "Only Girl (In the World)". According to Mawuse Ziegbe of MTV News, the singer "kicked up the island theme" as drummers in tribal dress circled her.  她以无伴奏的「Love the Way You Lie (Part II)」开场，坐在一棵挂了颇具设计感灯光的树上，下方是暗褐色的一片草地」。蕾哈娜接着演唱独唱版的「What's My Name?」，以及缩短版的「Only Girl (In the World)」。 MTV 新闻台的 Mawuse Ziegbe 说，当一群鼓手穿着部落服装围绕着她时，她「激起了岛屿风」。
Rihanna performed a short version of "Only Girl (In the World)" at the 31st Brit Awards on February 15, 2011, as part of a medley with two other singles from Loud: "S&M" and "What's My Name?". She had planned to perform "S&M" only (to coincide with its United Kingdom release), but was asked by the British Phonographic Industry to "tone down the sexual references in the song's lyrics".	2011 年 2 月 15 日，蕾哈娜在第 31 届全英音乐奖上演唱缩短版的「Only Girl (In the World)」，并与其他两首 Loud 单曲「S&M」和「What's My Name?」组成组曲一同演唱。本来她只计画演唱在英国发行的「S&M」，但英国唱片协会要求她「降低歌词中的性暗示」。
Rihanna was reportedly angered at the request and a related one to perform a different song.	据报蕾哈娜对此要求，以及另一个要她演唱其他曲目的相关要求十分火大。
